Ansel Easton Adams was an American landscape photographer and environmentalist known for his black-and-white images of the American West. Yosemite National Park was Adams’ chief source of inspiration. 

What was his Childhood like?

He was born in San Francisco, California, the son of Charles Hitchcock Adams, a businessman, and Olive Bray. The grandson of a wealthy timber baron, Adams grew up in a house set amid the sand dunes of the Golden Gate. When Adams was only four, an aftershock of the great earthquake and fire of 1906 threw him to the ground and badly broke his nose, distinctly marking him for life. Adams was a hyperactive and sickly child with few friends. Dismissed from several schools for bad behaviour, he was educated by private tutors and members of his family from the age of 12. Adams taught himself the piano, which would become his early passion.

Adams’s love of nature was nurtured in the Golden Gate, but his life, in his words was “coloured and modulated by the great earth gesture” of Yosemite in the Sierra Nevada. During his first trip to Yosemite in 1916, his father gave him his first camera, an Eastman Kodak No. 1 Box Brownie. Yosemite Valley and the Sierra became a career- and life-altering place for Adams and is where he did some of his best work.

When Adams was 12, after being dismissed from several private schools for being restless and inattentive, his father removed him from school. For the next two years, he was tutored and educated by his father and aunt Mary, who raised him to follow Ralph Waldo Emerson’s direction “to live a modest, moral life guided by social responsibility to man and nature.” He eventually resumed his formal education at Mrs. Kate M. Wilkins Private School, where he graduated the eighth grade on June 8, 1917. 

How did Yosemite National Park inspire his career?

In 1919 Adams joined the Sierra Club. The Sierra Club is an environmental organization based out of San Francisco and founded by Scottish-American preservationist John Muir. Traditionally associated with the Progressive Movement, the club was one of the first large-scale environmental preservation organizations in the world. For several years, Adams was caretaker of the Sierra Club’s LeConte Memorial Lodge (now known as the Yosemite Conservation Heritage Centre) in Yosemite Valley. He was deeply influenced by the organization’s environmental credo, and his first published photographs appeared in the Club’s 1922 Bulletin.

His large encompassing landscapes, for which he is best known, are inspired by the archetypal nineteenth-century idealized panorama, which was a typical genre in early painted and photographic depictions of the American West.

In 1927, Adams took his first High Trip as a member of the Sierra Club and made his famous photograph, Monolith, The Face of Half Dome. 

Later that year, with the help of San Francisco insurance magnate and patron of arts Albert M. Bender, Adams published his first portfolio: Parmelian Prints of the High Sierras. 

Why was the Kings Canyon at Risk?

In 1941, legendary photographer Ansel Adams was hired to shoot national parks for a photo mural at the Department of the Interior in Washington. With the escalation of World War II, the project was suspended. But before its abrupt end, Adams had created a series of 226 incredible images, including several from the Grand Canyon in 1942.

When was the proposal to create the national park approved?

In 1941 Adams was contracted by the Department of the Interior (DOI) to construct a photo mural of the National Parks, Native American Reservations, and other locations managed by the DOI. As an unremitting activist for the environment, Adams knew that this was an opportunity to showcase the wilderness. During this time, Adams captured his famous photograph The Tetons and Snake River. 

America’s grand old man of photography visited the National Archives in September 1979. Back then, the agency was known as the National Archives and Records Service (NARS). Adams spent the day in the Still Picture Branch examining prints he made four decades earlier.

Adams examined the prints that were his preliminary work for the DOI photo mural. These included 175 photos of National Parks, monuments, and Native Americans of the Southwest. He also revealed that he was paid $22.50 a day for his work, plus a $9 per diem. In 1979 one of his prints sold for as much as $6,250 (roughly $22,000 in 2019 dollars).

Ansel Adams passed away on April 22, 1984, from cardiovascular disease in Monterey, California, at the age of 82 surrounded by his wife, two children, and five grandchildren. 

What Medal did he receive?

In 1980, President Jimmy Carter awarded Adams the Presidential Medal of Freedom, the nation’s highest civilian honour, for “his efforts to preserve this country’s wild and scenic areas, both in film and on earth. Drawn to the beauty of nature’s monuments, he is regarded by environmentalists as a monument himself, and by photographers as a national institution.”

Visualization with Ansel Adams

Visualisation is the concept of interpreting a scene and deciding on the final shot before pressing the shutter. Taking place within the ‘mind’s eye’, as Adams often said, visualisation involves intuitively assessing a subject and choosing the most important attributes to frame and highlight.

In Ansel’s case, his knowledge of technique—knowing what a strong red filter ought to do—enabled him to imagine, or visualize, a final print with a much darker sky than the yellow filter would have afforded. He visualized how he wanted the print to look and used the techniques to execute his vision.

What was the Zone System?

The Zone System is a photographic technique for determining optimal film exposure and development, formulated by Ansel Adams and Fred Archer.

Each zone in the Zone System corresponds to a specific tonal value and exposure adjustment. For instance, Zone V is the middle grey, or 18% grey, which most meters are calibrated to. This zone represents a tonal value halfway between pure black (Zone 0) and pure white (Zone X)

What does Landscape mean?

“Landscape” means how a piece of land looks, including hills, trees, rivers, and buildings. It can also refer to pictures of nature or describe the overall vibe of a place, like in business or politics.

When did landscape emerge as a genre in western culture? ​

Landscape emerged as a genre in Western culture during the Renaissance period, around the 14th to 17th centuries. Artists began to focus more on nature and the environment in their works, moving away from solely religious themes. This shift allowed landscapes to become a popular subject in painting, with artists like Leonardo da Vinci and later, the Dutch masters in the 17th century, contributing significantly to its development. By the 18th century, landscape painting had solidified its status as a distinct genre, especially with the Romantic movement, which emphasized the beauty and emotional power of nature.

When did classical landscapes emerge as a genre?

Classical landscapes emerged as a genre during the Renaissance, particularly in the 15th and 16th centuries. Artists began to depict idealized natural scenes, drawing inspiration from ancient Roman and Greek art. This genre continued to evolve through the Baroque period and into the 18th century, with artists like Claude Lorrain and Nicolas Poussin creating works that emphasized harmony and balance in nature. These classical landscapes often featured dramatic skies, serene waters, and carefully arranged compositions, which became influential in shaping the landscape genre in Western art.

What prompted the rise of Landscape Art during the late 18th / 19th century?​

The rise of Landscape Art during the late 18th and 19th centuries was influenced by several factors. One major reason was the Romantic movement, which emphasized emotion and the beauty of nature. Artists began to focus on capturing the sublime aspects of the natural world, showcasing its power and majesty. Additionally, the Industrial Revolution led to rapid urbanization, prompting a longing for the countryside and a simpler way of life. This nostalgia was reflected in art as artists like J.M.W. Turner and Caspar David Friedrich created stunning landscapes that highlighted nature’s beauty and its contrasts with industrialization. Overall, these social, cultural, and emotional shifts played a significant role in the popularity of landscape art during this period.

When did landscape photography originate?

Landscape photography originated in the early 19th century, around the 1830s and 1840s. The invention of photography itself in the 1820s laid the groundwork for this genre. Early photographers, like Carleton Watkins and Ansel Adams, began to capture the beauty of natural landscapes, showcasing mountains, forests, and other scenic views. The development of new photographic techniques and equipment allowed for greater detail and clarity, further popularizing landscape photography as an art form. By the late 19th century, it had become a well-established genre, appreciated for its ability to document and celebrate the natural world.

What is Romanticism?

Romanticism was an artistic, literary, and intellectual movement that originated in the late 18th century and peaked in the early to mid-19th century. It emerged as a reaction against the Enlightenment’s emphasis on reason and the Industrial Revolution’s focus on industrialization and mechanization.

Key characteristics of Romanticism include:

1. Emphasis on Emotion: Romanticism places a strong emphasis on individual feelings, emotions, and the sublime. It values personal experiences and the expression of deep emotions over rational thought.

2. Nature: Romantic artists and writers often celebrated the beauty and power of nature, viewing it as a source of inspiration and a reflection of the human spirit. Nature was seen as a place for solace and spiritual renewal.

3. Individualism: The movement championed the individual and the unique perspective of the artist or writer. It often highlighted the importance of personal freedom and self-expression.

4. Imagination: Romanticism valued imagination and creativity, often exploring themes of fantasy, the supernatural, and the mysterious. It encouraged artists to break away from traditional forms and experiment with new ideas.

5. Historical and Cultural Inspiration: Many Romantic works drew inspiration from history, folklore, and the past, often idealizing medieval times or exploring national identities.

Notable figures associated with Romanticism include poets like William Wordsworth, Samuel Taylor Coleridge, and John Keats, as well as authors like Mary Shelley and Victor Hugo. In visual arts, painters like Caspar David Friedrich and J.M.W. Turner are often linked to the movement. Overall, Romanticism had a profound impact on literature, art, music, and philosophy, shaping the way we understand emotion, nature, and the individual’s role in society.

Fact file about Romanticism:

Who: The movement included a variety of artists, writers, and musicians. Notable figures include poets like William Wordsworth, Samuel Taylor Coleridge, John Keats, and authors like Mary Shelley and Victor Hugo. In visual arts, artists like Caspar David Friedrich and J.M.W. Turner are significant.

What: Romanticism was an artistic, literary, and intellectual movement characterized by an emphasis on emotion, nature, individualism, imagination, and a focus on the sublime. It sought to express the beauty of nature and the depth of human experience.

Where: The movement originated in Europe, particularly in countries like Germany, France, and Britain. It later spread to other parts of the world, influencing various cultures and artistic expressions.

When: Romanticism began in the late 18th century, around the 1770s, and peaked in the early to mid-19th century, roughly until the 1850s. Its influence continued into the late 19th century and beyond.

How: Romanticism emerged as a reaction against the Enlightenment’s focus on reason and the Industrial Revolution’s mechanization. Artists and writers sought to highlight the importance of emotion and the beauty of nature, often using vivid imagery and expressive language.

Why: The movement arose from a desire to break free from the constraints of rationalism and to celebrate the individual experience. It aimed to explore deeper emotional truths and to reconnect with nature and the past, reflecting a longing for a more authentic and meaningful existence.

The Sublime

“The Sublime” is a concept in aesthetics that refers to an experience of beauty that is overwhelming and transcendent, often evoking feelings of awe, admiration, and sometimes fear. It is associated with vastness, grandeur, and the power of nature, which can inspire both wonder and a sense of insignificance in the face of something much greater.

In Romanticism, the sublime was a key theme, as artists and writers sought to capture the emotional intensity of experiences that go beyond ordinary beauty. This could be seen in depictions of dramatic landscapes, powerful storms, or monumental mountains, where the beauty of nature is both captivating and intimidating. The sublime often challenges the viewer’s perception and evokes deep emotional responses, making it a significant aspect of Romantic art and literature.

Importance of British Painters

J.M.W. Turner and John Constable are two of the most important British painters of the Romantic era, and they significantly contributed to the development of landscape painting.

J.M.W. Turner: Turner is known for his innovative use of colour and light, often depicting the effects of atmospheric conditions in his landscapes. His works, such as “The Fighting Temeraire” and “Rain, Steam and Speed,” evoke a sense of drama and emotion, capturing the sublime aspects of nature. Turner’s ability to convey movement and the transient nature of light paved the way for future movements, including Impressionism. He is considered a precursor to modern art due to his expressive style and exploration of colour.

John Constable: Constable, on the other hand, focused on the beauty of the English countryside, often painting scenes from his native Suffolk. His works, like “The Hay Wain” and “Dedham Vale,” are celebrated for their realistic portrayal of nature and the changing seasons. Constable emphasized the importance of light and atmosphere, using techniques like plein air painting to capture the essence of the landscape. He is known for his emotional connection to the land, which resonates with viewers and has influenced generations of artists.

John Constable Painting

• Romanticism – Pastoral scene, Known now as a British Cliché, but was once quite radical
• Very large landscape – but very low on the genre hierarchy
• Constable’s father was a land owner in Suffolk
• The painting is of the Stour River where he grew up
• Biggest painting for it’s time
• This is a time when the land is fraught, there are economic stresses and unemployment among workers
• Early industrial revolution – machines were perceived to be taking employment away. There was extreme poverty
• But we see none of this here… It’s a beautiful working and thriving landscape
• Additional focus on the sky – Constable had studied Meteorology, capturing a specific time of day
• Was originally called Landscape Noon
• The farmers in the background are at one with nature
• Finding beauty in the most humble of landscapes
• “The sound of water escaping from mill-dams, willows, old rotten planks, slimy posts, and brickwork, I love such things. … As long as I do paint, I shall never cease to paint such places. They have always been my delight.“
• Completed from sketches – cery quickly over 5 months
• Green – radical. Very realistic and close to nature. Other artists painted landscapes that were brown… old masters were used to working in rooms with fire and smoke in
• Red accent to balance out the green
• Broad marks – contemporary for its time – deliberate in creating rough texture that reflected the textures of the landscape. We can feel the water moving across the stream, or the clouds in the sky
• It captures the nostalgic memory of the place
• Curator of the Louvre called Constable the messiah of landscape painting

Together, Turner and Constable helped elevate landscape painting to new heights, emphasizing the emotional and sublime qualities of nature, which became central themes in Romantic art. Their legacy continues to inspire artists and art lovers today.

Identity in photography can be seen as the representation of an individual’s or group’s essence through visual imagery. It encompasses various aspects, such as gender identity, cultural identity, social identity, geographical identity, and political identity. Each of these identities can be expressed and explored through photographic work, allowing for a deeper understanding of the subjects and the contexts they inhabit. 

Masculinity and Femininity

Femininity and masculinity in photography often manifest through the portrayal of subjects in ways that align with or challenge traditional gender norms. For example, images that depict women in nurturing roles may reinforce femininity, while those showcasing men in assertive or dominant positions may emphasize masculinity. However, contemporary photography increasingly seeks to subvert these stereotypes, presenting a more nuanced view of gender that reflects the complexities of identity.

The influence of place and belonging is significant in photography. An individual’s environment and upbringing shape their perspectives and experiences, which can be conveyed through their work. For instance, a photographer from a particular geographical region may capture the cultural identity of their community, highlighting local traditions and social dynamics. Conversely, the lack of or loss of identity can be explored through themes of alienation or disconnection in photography. Stereotypes and prejudices can also be challenged through visual narratives, prompting viewers to reconsider their perceptions and assumptions about different identities. Ultimately, photography serves as a powerful medium for exploring and expressing the multifaceted nature of identity.

Key Artists with References

Cindy Sherman and Claude Cahun are two influential artists known for their explorations of identity, gender, and the self through photography. 

Claude Cahun

Claude Cahun, a pioneering figure in the early 20th century, also focused on identity and gender, but her approach was more avant-garde and surrealist. Cahun’s work often involved self-portraiture as well, but she used it to explore themes of androgyny and the fluidity of identity. In her photographs, she frequently manipulated her appearance, employing costumes, makeup, and props to challenge conventional gender norms. Cahun’s work emphasizes the performative aspects of identity, suggesting that it is not a fixed state but rather a series of roles that individuals play.

Cindy Sherman

Cindy Sherman is renowned for her conceptual self-portraits, where she often adopts various personas and characters. Through her work, Sherman challenges traditional notions of femininity and the representation of women in media and art. By transforming herself into different roles—ranging from the glamorous to the grotesque—she critiques the stereotypes and societal expectations placed on women. Her series “Untitled Film Stills” is particularly notable, as it presents her as the protagonist in staged scenes that mimic film stills, allowing viewers to question the authenticity and construction of identity in visual culture.

Both artists use photography to interrogate the construction of identity, but they do so in distinct ways. Sherman’s work often reflects a critique of popular culture and the roles women are expected to play, while Cahun’s work delves into the complexities of gender and self-representation. Together, they highlight how photography can serve as a powerful tool for exploring and deconstructing identity, encouraging viewers to reconsider their perceptions of gender, self, and the roles imposed by society.

Mood Board

I conducted a lot of research into the theme of “Identity”, and came across these images. They are quite dark and monochromatic and when I asked for my teachers view of these images, he said they almost created the sense of “Loss of Identity”

Researching further into the theme “Loss of Identity” in photography, I found out that it can evoke a range of emotional and conceptual effects. It often creates a sense of disconnection, alienation, or introspection. When photographers explore this theme, they use techniques such as blurred images, fragmented compositions, or abstract representations to symbolize the struggle of individuals to maintain their sense of self in a rapidly changing world. 

This theme can also provoke viewers to reflect on their own identities and the factors that contribute to their sense of self. It can lead to a deeper understanding of societal pressures, personal experiences, or cultural shifts that influence identity. Additionally, photographs focusing on loss of identity can foster empathy, as viewers may connect with the feelings of confusion or loss portrayed in the images. Overall, it opens up a dialogue about what it means to be oneself in various contexts.

Artists related to my Theme of Identity

Andreas Poupoutsis

Andreas Poupoutsis is a contemporary photographer known for focusing on themes like identity and memory. His work often blends portraiture with conceptual photography, creating thought-provoking images that evoke emotions. He uses techniques like mixed media and digital manipulation, which add depth to his subjects. His photography reflects personal and collective experiences, encouraging viewers to think about their own identities and how they are shaped by their surroundings.

Poupoutsis takes his images from a close-up shot, to make the person in the image the whole focus. The person being the main focus is also created by the background being extremely dark: in the image on the middle it appears to be a vignette effect used, whereas the image on the left is fully black.

He talks a lot about his inspiration for his work and what he did to achieve these creative images.

” “Metamorphosis” would best describe my creative process.  I am influenced by Cubism, shapes, shadows and textures.  Creating beautiful and abstract images intrigues me. I am fascinated by people’s faces and especially by the transformation they go through in my photographs. We are complex and unique individuals with our own experiences, fears and losses and use our life experience to view the world. Being true to ourselves is one of the most challenging thing we can do. “

He further talks about his fascination with faces and how he prepares himself before his photoshoots to make sure everything is going according to plan.

“As for my fascination with faces, I have always been intrigued by abstract portraits, every face is unique in its own way and that sparks my imagination. At the same time I’m always looking for ways to transform that uniqueness and go deeper into analysing the identities of people.“

“My process is always different depending on the project. It all starts out with an idea which then turns into small sketches. I always have a diary in which I write down all my ideas. Pre-visualising the shoot is also very important and the search for the appropriate materials, textures, urban locations is needed. I prefer studio work because there I have total control of the light.“

Overall, Poupoutsis’s work highlights the power of visual storytelling in exploring human experiences.

Michael Wills

Michael Wills is a notable photographer recognized for his contributions to the field, particularly in documentary and fine art photography. His work often focuses on capturing the essence of human experiences and social issues, using a narrative approach to tell stories through his images. Wills’s photography is characterized by its emotional depth and attention to detail, allowing viewers to connect with the subjects on a personal level. He has explored various themes, including identity, community, and the passage of time, making his work significant in contemporary photography.

My Photo-Shoot Response

These are my Photoshoot Responses of Andreas Poupoutsis. I tried experimenting with the light and discovered quite a unique and interesting way to manipulate it. I first started adjusting the brightness of the flash and physically moving the light stand and proceeded to take the photos. I was taking Photos of my model and was repeatedly pressing the button for it, giving the flash less time to light up the room. This helped me focus the light only on my model and not the entire room.

I communicated with my model, explaining to them that their body can also convey their emotions, not just the face. This made my images stand out and feel more connected to them. For me at least.

Experimentation/Editing

After uploading my Photos to my Hard drive, I used Adobe Lightroom Classic to browse through my photos and see which ones came out…Bad, Good or Great.

I flagged the Photographs which caught my attention and followed up by moving/editing them further into Adobe Photoshop. I decided to play around a bit with the settings in Photoshop to create these Monochrome based images. The settings that I used was…

This is the Before and After of the Original Image with the Black and White Filter applied. All of my Images for the theme of Identity will all have the exact same Black and White filtered applied.

Slowly my photographs started looking like Andreas Poupoutsis. I could see similarities.

I experimented further by blending in different images such as a Landscape photograph that I took with my Identity Photos. Below is the image used to blend into my Photograph and the settings that I used to do this.

This is the Before and After of the Original Image with the blended image applied. I will be implementing this into some other Images.

Its a work in progress but I am slowly getting there.

Final Photos

These are my Final images that have been produced/edited. There were 56 Images taken and as I said before I used Adobe Lightroom Classic to browse through my photos and select my Best Images from my Photoshoot. In this case, I chose these 14 images and applied all the filters and overlaying as said in the previous Section.

Now comes the hard part. For my Exam I have to choose a certain amount of images to be sent and printed off to be displayed on a visual canvas of our choice. What I mean by this is that Firstly, I need to decide on which images to use. Secondly, I need to decide how big or how small I want my Images to be printed off and Lastly, I need to decide how big I want the canvas that’s going to be holding my images to be cut out.

Chosen Images For Printing

After careful thought and consideration, these are the photographs that I want to be Displayed/Printed.

Andreas Poupoutsis shows his theme of identity through the uniqueness of facial expressions. He takes his images from a close-up shot, and makes the background extremely dark to highlight the figure to being the main focus. These 6 images I think have achieved the closest resemblance of Andreas Poupoutsis work. There is a photograph that utilises a grey background, this was intentional as Poupoutsis uses both a vignette effect for the background or changes the background to be fully black.

I transferred my Images into Art Steps so that I can visualize what my Images would look like in real life at Exhibition/Museum/Display etc..

Studio Lighting Mood Board

What is Studio Lighting?

Studio lighting refers to the use of artificial lights in a controlled environment to illuminate subjects for photography. It’s essential because it allows photographers to manipulate light to achieve the desired mood, highlight details, and create professional-quality images. By using different types of lights, such as soft boxes, umbrellas, and strobes, photographers can control shadows, contrast, and colour balance, resulting in more visually appealing photos. This control over lighting is crucial, especially when trying to convey a specific emotion or atmosphere in the image.

For instance, soft lighting can create a warm and inviting feel, while harsher lighting can add drama and intensity.

Additionally, studio lighting enables consistency across a series of shots, which is particularly important for product photography or portrait sessions. The ability to adjust and experiment with the lighting setup also encourages creativity, allowing photographers to explore various styles and techniques. Ultimately, mastering studio lighting can significantly enhance the quality of photographs and help tell a more compelling story through visual imagery.

1-2-3 Point Lighting

The difference between 1-point, 2-point, and 3-point lighting lies in the number of light sources used and the effects they create in photography.

1-Point Lighting: This technique uses a single light source to illuminate the subject. It creates strong shadows and highlights, which can produce dramatic effects. It’s often used in portrait photography to emphasize facial features or in artistic shots where mood is more important than detail.

2-Point Lighting: This setup involves two light sources. Typically, one light serves as the key light, providing the main illumination, while the second acts as a fill light to soften shadows created by the key light. This technique balances light and shadow, adding depth and dimension to the subject, making it ideal for interviews or product shots.

3-Point Lighting: This is a more advanced technique that uses three lights: the key light, fill light, and backlight (or rim light). The key light is the main source, the fill light reduces harsh shadows, and the backlight adds separation between the subject and the background, creating a three-dimensional look. This method is commonly used in film and television because it provides a well-rounded and professional appearance, enhancing the overall quality of the image.

Each technique serves a different purpose and can be chosen based on the desired mood and effect in the photograph.

Rembrandt Lighting, Butterfly Lighting, and Chiarascuro

Rembrandt lighting, butterfly lighting, and chiaroscuro lighting are all different lighting techniques that can dramatically change the mood and appearance of a photograph, so understanding them can help create the desired effect in my portraits.

Rembrandt Lighting

This technique is characterized by the triangle of light that appears on the cheek opposite the light source. It involves placing the light source at a 45-degree angle to the subject and slightly above eye level. This creates a dramatic effect with both highlights and shadows, giving depth to the face.

Butterfly Lighting

Also known as “Paramount lighting,” this technique creates a butterfly-shaped shadow under the nose. It involves positioning the light source directly in front of and above the subject’s face. This lighting is often used in beauty photography as it highlights the cheekbones and creates a soft, flattering look.

Chiarascuro

This is a broader artistic technique that uses strong contrasts between light and dark to create a sense of volume and three-dimensionality. In photography, it can involve dramatic lighting that emphasizes shadows and highlights, often used to evoke a particular mood or atmosphere.

Photography Lighting Equipment for Beginners (Extra Info)

The world of studio lighting can be an exciting aspect of photography for some people, while others are intimidated by what seems to be a never-ending stream of equipment and technical information. The Information that I have researched here will help me decide on what Studio Lighting and equipment will be best for my Photography.

Keep in mind, that the items that I have researched are all geared towards portrait photographs.

Flash Units and Diffusers

A DSLR has a component on top, called a hot shoe, where you can attach a flash that is purchased separately from your camera. While most DSLRs have an on camera flash that can work well in some situations, it is always great to have a separate flash.

Photography Lighting Equipment for Beginners

With a separate flash, I don’t just have the luxury of a more powerful flash with a better quality of light, I also have the option of attaching diffusers to my flash, and even using my flash off-camera. 

Now, if I purchase a flash or the school already has one, it will most likely come with a small, white, plastic diffuser to attach to the top of the flash. This can work very well to diffuse the light, minimizing shadows and red-eye. I also have the ability to turn the flash so that it isn’t pointing straight at the subject, and bounce the light off a ceiling or nearby wall to make the light even more diffused.

Photo Lighting Equipment

A great option is the Light sphere Dome, by Gary Fong. The Light sphere Dome is lightweight, and it has never fallen off of a flash as some diffusers have a tendency to do and it fits both my Nikon and Canon flashes.  It a great, multi-purpose diffuser. 

Reflectors

A Reflector provides natural light and they come in various shapes, sizes, and colours, but the silver, circular reflector seems to be the most popular.

How to Choose Studio Lighting

I can use stands to hold my reflector, or, if I have another person on-hand, I can have them assist me in holding and positioning the reflector. It will increase the light on the subject by reflecting the available light. They also work extremely well to fill in the light behind the subject, or, if I am shooting outside and my subjects back is lit, positioning the reflector to face directly will bring out more detail on their face, without creating harsh, unnatural lighting.

Off Camera Lighting

Now, if I am feeling comfortable enough to experiment with off-camera lighting, I can either use separate lights, or I can trigger a flash off camera.

Photography Lighting Kits for Beginners

If I am using a flash, I will most likely need to invest in triggers.  Some DSLRs can trigger a flash off-camera through an infrared sensor that is built-in to the camera, but triggers are a bit more reliable.

Basically, there are two components involved with triggers, a transmitter that attaches to the camera, and a transceiver that is attached to the flash. The transmitter communicates with the receiver, allowing you to place the flash off camera on a light stand, and use various umbrellas and soft boxes to diffuse the light.

Cactus Triggers are widely popular, and more affordable than a lot of the other triggers on the market.

Once I have decided how I want my trigger to flash, I should look deeper at various umbrellas and soft boxes. Umbrellas tend to create a more direct pool of light, while soft boxes will create a more even light source.

Basic Photo Lightning Kit

I will need a stand that will hold my flash, and my diffuser. I can scout for a kit that comes with a light stand, a mount for my flash and umbrella, as well as basic reflector umbrellas or just use the schools.

In short, if I am using a flash off-camera, here is what I will need:

• Trigger – a transmitter and a transceiver.
• Light Stand
• Mount – to attach to light stand and hold the flash/umbrella/softbox
• Umbrella – or your choice of diffuser

Triggering the flash off-camera is a lightweight, portable method of achieving studio-like lighting. If I am shooting in my house or the studio at school, I may have to look at larger flashes such as Alien Bees. Alien Bees also makes a portable power pack, so if I decide to take my lights outdoors for a shoot, I can with no issues.

My Rembrandt Lighting, Butterfly Lighting, and Chiarascuro Examples

This is one of my Rembrandt Lighting photographs that I tried experimenting with.

This is one of my Butterfly Lighting photographs that I tried experimenting with.

Both of these Images use the same equipment and settings, I struggled to get a clear dark Butterfly shadow under the nose but it has been successfully produced. At least that’s what I can see.

This is one of my Chiarascuro photographs that I tried experimenting with.

Inspirations: Portraiture

Some photographers we were given to look at for Inspiration with our Photographs are Annie Leibovitz, Irving Penn, John Rankin, Nadav Kandar, Richard Avedon, Yousef Karsh, David Bailey, Mario Testino, Steve McCurry, Jill Greenberg, Nick Knight, Tim Walker, Corrine Day, Jane Bown, Rineke Djikstra and Thomas Ruff.

Annie Leibovitz

Irving Penn

John Rankin

Nadav Kandar

Richard Avedon

Yousef Karsh

David Bailey

Mario Testino

Steve McCurry

Jill Greenberg

Nick Knight

Tim Walker

Corrine Day

Jane Bown

Rineke Djikstra

Thomas Ruff

Creative Responses

Gel Lighting

We Experimented with a lighting technique called Gel lighting. Gel lighting in photography refers to the use of coloured gels placed over light sources to create specific colour effects in images. These gels are typically made from thin sheets of coloured plastic or acrylic and can be attached to lights to modify their colour temperature or add creative hues to a scene. Knowing this, it has helped me produce the following photographs.

The reason that we Photographers use gels are for various purposes, including:

1. Colour Correction: To adjust the colour temperature of the light to match the ambient light or to create a specific mood.

2. Creative Effects: To add colour to shadows or highlights, enhancing the overall aesthetic of the photo.

3. Separation and Depth: To add colour behind subjects, helping them stand out from the background and creating depth in the composition.

Best Gel Photographs

Edited Gel Photographs

Even though I clearly stated that the Photographs from above are my “Best Gel Photographs”, that doesn’t necessarily mean that I am not going to edit them. So I boosted the Vibrancy to 100 and kept the Saturation to 0, which made the Red mixed Orange stand out a lot more.

I wanted my 2 models to have their own individual colours associated with them. Like with my previous model Eddie, I associated Red and Blue with him, and for my Upcoming model Vincent I associated Orange and Purple. I used the same Gel Plastic colours and the same Vibrancy but I also changed the Hue in the Photograph to produce the following.

Photo Montages

Juxtaposition

For the purposes of a ‘juxtaposition in photography’ definition, we can say that juxtaposition photography involves combining two or more elements in the same picture, highlighting the interesting contrast between them, to create an eye-catching and thought-provoking image.

Or to be specific, juxtaposition is when you put two opposite things together, and the contrast of those two things becomes interesting.

For example:

• Fat person next to skinny person
• Tall person next to short person
• Dark colors next to light colors
• Circles next to rectangles
• Old people next to young people

Generally with ‘juxtaposition’ — you are making a statement through the contrast of elements you put in the frame.

My Experimentation

Double Exposure

A double exposure is created by exposing a single frame to two different images. Traditionally, you’d achieve this effect with film cameras, but this technique is now accessible to digital photographers through in-camera settings or via post-processing software like Photoshop.

Double exposure photography allows you to juxtapose contrasting scenes, textures, or subjects, resulting in images that can spark curiosity, ignite the imagination or tell a poignant message.

My Experimentation

What is Environmental Portraiture

An environmental portrait is a portrait taken in the subject’s usual environment, such as in their home or workplace, and typically illuminates the subject’s life and surroundings. The term is most frequently used of a genre of photography.

By photographing a person in their natural surroundings, it is thought that you will be able to better illuminate their character, and therefore portray the essence of their personality, rather than merely a likeness of their physical features. It is also thought that by photographing a person in their natural surroundings, the subject will be more at ease, and so be more conducive to expressing themselves, as opposed to in a studio, which can be a rather intimidating and artificial experience.

Mood Board of Environmental Portraiture

Common challenges when shooting environmental portraits

If you’re unable to get to the location before the shoot, perhaps the greatest challenge with this type of photography is working with and overcoming the unknown. Often with environmental portraits you don’t really know what you’re dealing with — who you’re photographing, what they look like, what they’ll be wearing, what the location is like or what sort of lighting there is. This means, as the photographer, you have to be able to think on your feet and overcome these challenges when you arrive.

Here are some of the common challenges summarised into these key points here.

Time – Perhaps the greatest challenge on any photoshoot is a lack of time. Often we only have a small window of time, but numerous obstacles to overcome. Even if you’ve researched the location prior to the shoot, you have to be prepared to think on your feet.

Photographing on location – When working on location you don’t know what you’ll be working with until you arrive. Locations may be cluttered, busy with people and generally just not what you expect. Be prepared for this and know that you might have to look for the right space or even rearrange items.

Lighting – Lighting on location is something that many photographers struggle with. In many cases it’s common that you’ll be working with mixed lighting as the available light alone may not be sufficient, while other instances may require purely studio lighting if there is no suitable ambient light, so make sure to be prepared with two or three lights and some modifiers that could work for a variety of scenarios.

Communicating with your subject –As with any portrait, building a connection with your subject is key if you want to get natural-looking results. The key thing here is to be confident as this will help put your subject at ease. Even if you don’t have a lot of time, take a moment to talk to your subject, explain what you’re doing and what you want to achieve. Talk them through the shoot to help them feel comfortable as this will make the experience more rewarding for everyone involved.

Environmental Photoshoots

For my Photoshoot I tried to take a Variety of Photographs of people within their Environment. Some have arguable points that they are Portraits while others do not. I.e Motorcycle helmet photos.

I found a website going into detail about Portrait Photography as they said that Portraits are often more dramatic, are less smiley, etc. In portraiture subject often is looking away from the camera or is engaging in some kind of activity. Again, “portraits are more about telling a story”. Almost all of my Photos are telling a Story or engaging in an Activity.

To Back this up further Portrait photography is all about capturing the essence of a person, their personality, and emotions, regardless of what they’re wearing. Helmets can add an interesting element to the portrait, showing a different side of the person being photographed. So, a photograph of someone wearing a helmet can still be considered portrait photography because it’s about capturing the individual, their story, and their uniqueness.

Contact Sheet

Photographs Before VS After

Something that I have noticed with my Dirt Bike Photographs and a few other ones is that they are quite dull and monochromatic. Adjusting the Vibrancy option in Adobe Photoshop added the colour necessary to make my images stand out. These are the settings that I used to achieve this.

And these are the results that have been produced.

When I used the same Vibrancy for these Photographs it turned my Photographs into an orange colour, almost as if switching on a Thermal filter, which did not look as amazing as I had hoped.

So instead I used a different Vibrancy which produced a much more Eye catching result in my opinion.

And these are the results that have been produced.

Not all my Images needed Editing as they stood out by themselves or I already Edited them before uploading them. Such as…..

Arnold Newman Research

Arnold Newman (1918-2006) was an American photographer known for his pioneering work in environmental portraiture. He skillfully combined the subject’s personality and environment to create powerful and memorable portraits. His unique approach to portraiture forever changed the field and left a lasting impact on future generations of photographers.

Born in New York City in 1918, Arnold Newman grew up in Atlantic City, New Jersey, and later moved to Miami Beach, Florida. He initially studied painting at the University of Miami, but his artistic pursuits were interrupted by World War II. During the war, Newman worked in a photo studio specializing in passport and ID photographs. It was here that he began to develop his interest in photography.

After the war, Newman returned to New York City and started his career as a professional photographer. His breakthrough came in 1946 with a series of portraits of prominent artists and writers, including Piet Mondrian and Max Ernst. These photographs gained attention for their unique compositions, and Newman quickly became a sought-after portrait photographer.

Alfred Krupp Image Analysis

In 1963, Jewish photographer Arnold Newman was commissioned by Newsweek to take a portrait of Alfred Krupp, a convicted Nazi war criminal. At first, Newman refused, but eventually, he decided to take the assignment as a form of personal revenge.

Technical

Arnold Newman, known for his environmental portraits, often used a combination of lighting techniques to create depth and mood in his photographs. While specific settings for the photo of Alfried Krupp in 1963 may not be publicly documented, we can make educated guesses based on his style:

1. Lighting: Newman frequently used natural light supplemented with artificial sources. For this portrait, he might have used soft diffused light to highlight Krupp’s features without harsh shadows.

2. Aperture: A wider aperture (like f/2.8 or f/4) could have been used to create a shallow depth of field, focusing on Krupp while softly blurring the background.

3. Shutter Speed: A shutter speed of around 1/125 to 1/250 seconds would be typical to avoid motion blur, especially if there was any camera movement.

4. ISO: Given the era and the film used, an ISO of 100 to 400 would be reasonable, depending on the lighting conditions.

5. White Balance: Since this was shot in the 1960s, it would have been set based on the film stock, likely using daylight balance for natural light or tungsten for artificial light.

These settings reflect Newman’s approach to capturing the essence of his subjects through careful control of exposure and lighting.

Visual

In Arnold Newman’s 1963 photo of Alfried Krupp, several visual elements contribute to the overall impact of the image:

1. Colour: The photograph likely utilizes a muted colour palette, characteristic of Newman’s style, which often emphasizes the subject’s features and the mood of the scene rather than vibrant colours.

2. Tone: The tonal range in the image would create depth, with highlights and shadows enhancing the dimensionality of Krupp’s face and the surrounding environment.

3. Texture: The texture in the photograph is important; you can see the details in Krupp’s clothing and skin, which adds a sense of realism and intimacy to the portrait.

4. Shape: The shapes within the composition, such as Krupp’s face and the contours of his clothing, create a focal point that draws the viewer’s attention directly to him.

5. Form: The three-dimensionality of the subject is highlighted through the interplay of light and shadow, giving a sculptural quality to the portrait.

6. Pattern: Any patterns present, whether in the background or in Krupp’s attire, serve to add interest without overwhelming the main subject.

7. Line: Lines can be seen in the way Krupp’s posture and the arrangement of elements direct the viewer’s gaze, often leading to his face as the focal point.

8. Space: The use of negative space around Krupp helps to isolate him, emphasizing his presence and the significance of the moment captured.

Newman’s composition is carefully arranged, likely employing the rule of thirds or a balanced layout that enhances the viewer’s engagement with Krupp’s character. The positioning of Krupp within the frame, alongside the elements surrounding him, creates a narrative that reflects his stature and personality.

These visual elements work together to create a powerful and evocative portrait that captures not just the likeness of Alfried Krupp but also the essence of his character and the context of his life.

Contextual

The contextual meaning behind Arnold Newman’s 1963 photo of Alfried Krupp can be understood through the historical and social backdrop of the time. Krupp was a significant figure in the industrial landscape of Germany, particularly known for his role in the armaments industry during World War II. 

At the time Newman photographed him, Krupp had recently been released from prison after being convicted for war crimes. This context adds layers of complexity to the image, as it reflects not only Krupp’s personal narrative but also the broader implications of his actions during a tumultuous period in history. 

The photograph captures a moment of introspection, possibly reflecting the weight of his past and the consequences of his legacy. Newman’s choice to portray Krupp in a stark, serious manner emphasizes the moral and ethical dilemmas surrounding industrial power and its impact on society. 

In essence, the photo serves as a visual commentary on the intersection of personal identity and historical responsibility, prompting viewers to consider the implications of power and the legacies left behind by influential figures.

Conceptual

The conceptual meaning behind Arnold Newman’s 1963 photo of Alfried Krupp revolves around the complex interplay of power, legacy, and identity. Krupp was a prominent industrialist known for his role in the German steel and armaments industry, particularly during World War II. 

In the photograph, Newman captures not just Krupp’s physical likeness but also the weight of his legacy. The somber expression and the way Krupp is framed suggest a man burdened by his past and the moral implications of his business decisions. The composition and tonal quality evoke a sense of seriousness, highlighting the gravity of his position in history.

Furthermore, Newman’s choice of lighting and focus may reflect the duality of Krupp’s identity as a successful businessman and as a controversial figure whose actions had significant consequences. The image invites viewers to contemplate the complexities of power and responsibility, urging a deeper reflection on how individual choices can shape history.

Overall, the photograph serves as a powerful commentary on the nature of authority and the moral dilemmas faced by those in positions of influence.

Everywhere we look there are textures, no matter if the object itself looks bland from far away or up close. But if we use a digital camera or smartphone, we are able to see all the intricate details hidden away from our very eyes. This is achieved by using a zoom range of around 3X to 10X which is quite is common and can be suitable for general photography. For more specialized purposes, such as wildlife or sports photography, a camera with a higher zoom range, such as 20X or more, might be preferable. These Zoom ranges can help us achieve photographs like these…

Visual Elements (Formal)

Visual elements are the devices and techniques applied by photographers when taking a photograph to ensure that the outcome is pleasing both aesthetically and meets the photographers intentions. The visual elements are like a set of tools that can be used to construct a great image. There are a total of 7 elements that we tend to use in Photography; Line, Shape, Space, Repetition, Texture, Colour, and Value/Tone

Line

Lines are a great starting point when thinking about formal elements, as they are almost everywhere. Start by looking for lines in your composition that can guide the viewer through your shot or to a specific focal point. These are known as leading lines. Your lines don’t necessarily need to be straight, horizontal or vertical; they can be curved, angular, or random too. Angular lines that converge into a central point, commonly known as a vanishing point, will add perspective to your image. Think of how a straight road or railway line naturally disappears to a central point on the horizon, this is a classic example of a vanishing point. You can also add lines to your scene by creating entirely new ones. For example, when photographing moving traffic, you can use a slow shutter speed to create a light trail.

Shape

Regarding Shape in photography, this usually means a 2D subject outline. In contrast, form refers to a shape with a more 3D appearance. We’ve put these two together for this video as one formal element. Effectively representing shape and form in your compositions can turn objects, landscapes and figures into defined, striking focal points. Using various lighting techniques, such as backlighting, silhouettes, and paying attention to shadows, will help elevate the shapes and forms in your shot.

Space

Building Space into your compositions creates a sense of scale and brings added depth to your shot. It can also provide breathing room for your image’s main subject, allowing the viewer to focus on the scene’s primary features. Adding space to your compositions is particularly useful with outdoor photography, where you may want to emphasise the scale of geographical features, such as mountains and bodies of water. However, you can add space effectively when shooting almost any photographic subject.

Repetition

Symmetry and Repetition make interesting photographic subjects. And when you start looking, you’ll see a surprising amount of patterns around you in the natural and built environment. Often flat, even light works well for patterns as it emphasises its repetitive nature equally throughout the shot. But for some patterns that are more 3D in nature, you may want to experiment with a range of lighting setups to help bring them out. Some of the most striking patterns, such as aerial shots or extreme macro photography, can be those not usually visible to the human eye. But you don’t need to invest in a drone or a fancy macro lens to shoot patterns.

Texture

Texture in your composition can bring your image to life by giving the viewer a tangible connection with it, and is particularly popular in macro photography. You can draw textures out of all kinds of surfaces and environments. And to do this, you can use a wide range of lighting setups and shoot with a variety of depth-of-field. Textures are ideal for experimenting, try different setups and see what you like. You can use flat light with the camera head-on to bring out the surfaces of a weathered wall. Or, use backlighting for ripples in dunes, shallow depth-of-field for intricate materials, and long-exposure to get the silky-smooth look of flowing water.

Colour

A prominent Colour in your image – whether it’s a concrete colour block or a set of similar colours that form a palette can make a bold statement in your shot. Colours can also convey a mood to your image that will be emotive to the viewer. And you could also single out one particular colour to make a striking statement and have it ‘pop out’ of your shot.

Value/Tone

Focusing on Tone in your image means using variables of contrast and light and dark areas to bring depth to your image.
The tone is fundamental in black-and-white photography, where it should be used to guide the viewer through your image where there is no colour present to focus their attention. Practice makes perfect when it comes to tone, and we recommend trying different lighting scenarios and contrast levels for your preferred aesthetic.

Exploring abstraction in photography with Francis Bruguière, Jaroslav Rössler and others.

Many Photographers focus on texture in their images as capturing texture in a photograph can add visual interest, highlight unique patterns, or even evoke emotions. Texture photography overlaps with many kinds of photography, including everything from fine art to classic portraiture.

Here are a few Photographers that focus primarily on texture in their images that I will be looking deeper into…

Francis Bruguière

Bruguière was an American photographer who moved to London in 1928 where he began to experiment with non representational photography. Of these, the cut paper abstractions are particularly beautiful. The photographer exploits the endlessly subtle qualities of both paper and light, manipulating both in order to create complex patterns of texture and form.

Jaroslav Rössler

Rössler was a Czech avant-garde photographer who became known for combining different styles of modern photography including cubism, futurism, constructivism, new objectivity, and abstraction. His photographs often reduced images to elementary lines and shapes, exploring the contrast of light and shade. He experimented with a wide range of techniques and processes including photograms and double exposures

Jerry Reed

Jerry Reed is an English photographer who claims his objective is to sustain the interest of the viewer through his photographs. He focuses heavily on a contrast in the shadows from the light on the paper, giving a very two-toned effect.

Brendan Austin

Brendan Austin creates imaginary landscapes out of crumpled pieces of paper. He calls them ‘Paper Mountains’. Austin examines what we mean by nature and the way humans have impacted upon it. “The isolated desert city running on oil generators, the mars like landscapes of a volcanic environment and the mountains made from paper all attempt to start a conversation concerning the loss of meaning and reality.” The resulting images appear both recognisable as landscapes but also suggest a sense of artifice. Humble materials are made to carry an important message

Howard Lewis

Howard Lewis is a New York based artist whose artwork explores the concepts of light, form and the perception of time. Through his camera, Lewis strives to capture the dimensional qualities of form as rendered by light, illuminating the texture and age of each subject through the synthesis of photographic elements.

My Paper Experiments

I decided to use Origami in my Photos as I quite liked the texture that they produced and because scientifically Origami can help reduce stress, improve hand-eye coordination, boost creativity, enhance patience and persistence. It also symbolizes hope, healing and good fortune.

Knowing these facts about Origami it can create a hidden meaning behind my Photographs which I liked very much.

Contact Sheet

My Texture Experimentation

I used Adobe Photoshop for editing my Photographs and instead of just making my Photographs black and white, I decided to play around a bit with the settings to create these Monochrome based images. The settings that I used was…

This is the Before and After of the Original Image, and then the Black and White Filter applied.

This is the Before and After of the Black and White Image, and then the Colour Balance Filter applied.

This is the Before and After of the Colour Balance Image, and then the Brightness/Contrast Filter applied.

Combining all these filters together created a Blue cooling effect, used to convey a sense of cold or a depressing atmosphere which was my intention when editing these photographs. This effect can also enhance shadows as seen in the Photos above, adding depth to an image.

Scientifically, the colour blue can represent or be associated with open spaces, freedom, intuition, imagination, inspiration, and sensitivity. Blue also represents meanings of depth, trust, loyalty, sincerity, wisdom, confidence, stability, faith, and intelligence.

These might be some things to note when editing my Photographs in the near Future.

My Final Texture Photographs

ArtSteps: Virtual Gallery

Adobe Lightroom is a photo editing and storage application available through the Adobe Creative Cloud. This program allows users to quickly and easily edit their photographs with tools to alter contrast, balance colour, and change brightness on mobile devices immediately after taking the picture.

Are Photoshop and Lightroom similar?

Although the two digital photography editing apps are similar, the main difference between Photoshop and Lightroom is that Photoshop is ideal for more intense, detail-oriented photo editing and specializes in image manipulation, creation, and enhancement, while Lightroom is great for day-to-day workflows as it focuses on editing, organizing, and processing photos.

Adobe Lightroom Modules

Each module In Adobe Lightroom focuses on a specific portion of the photographic workflow. For example; the Library module is for importing, organizing, comparing, and selecting photos. The Develop module is for adjusting colour and tone, or creatively processing photos and lastly the Slideshow, Print, and Web modules are for presenting your photos.

Adobe Lightroom: Library

In the Library module you can review and organize the images in your photo library. The work area offers several different viewing modes so you can browse, inspect, compare, or select images with ease.

Adobe Lightroom: Develop

Although the Quick Develop panel in the Library module offers some basic image editing options, you’ll work in the Develop module when you wish to make more detailed adjustments and modifications to your photos. You can correct the colour balance or tonal range, crop or straighten an image, remove red eye, and apply a range of selective local adjustments—all non-destructively

Adobe Lightroom: Map

Lightroom Classic consists of a geotagging feature in the new Map module, where you can see or mark where your photos were taken. Photos already tagged with GPS coordinates will automatically appear on the map. You can drag images captured without GPS information directly onto the map from the Filmstrip, and edit location details and other metadata in the panel at the right. The Filter bar above the map view lets you highlight just those photos at locations currently visible on the map or filter for tagged or untagged shots. In the Saved Locations panel at the left, you can save a list of your favourite places for easy access.

Adobe Lightroom: Book

The Book module, delivers a suite of layout and type tools to help you create sophisticated photo book designs that can either be uploaded directly from Lightroom for printing through the online book vendor Blurb, or saved to PDF and printed on your own printer.

You can work with a multi-page preview of your book layout, focus on your design spread-by-spread, or view single pages in the Book module’s central work area, switching between these viewing modes and moving through the pages of your book using the controls in the Toolbar.

Adobe Lightroom: Slideshow

In the Slideshow module you can easily create stylish presentations from any image collection in your library. The images in your collection are displayed in the Filmstrip, where you can choose which photos you wish to include in your slideshow, and drag their thumbnails to change the order in which they will appear. The work area shows one image at a time in the Slide Editor view, where you can work on the slides individually, or preview your slideshow as a whole.

Adobe Lightroom: Print

The Print module offers a range of preset templates and all the layout tools you’ll need to quickly prepare any selection of images from your library for printing.

The photos in your collection are displayed in the Filmstrip, where you can select the images you want to print. You can drag the thumbnails in the Filmstrip to change the placement of your photos in the layout. The work area—the Print Editor view—shows your print layout, which may include only one image, a single image repeated at a variety of sizes, or multiple images.

Adobe Lightroom: Web

In the Web module you can build, preview, and then export or upload your own website to showcase your photos interactively.

As in the Slideshow and Print modules, the Template Browser in the left panel group offers a wide range of preset gallery templates which can be previewed in the Preview panel at the top of the group. The Collections panel provides easy access to your images and saved gallery designs. The panels in the right panel group contain settings and controls that enable you to choose between HTML and Flash gallery styles, customize the appearance and functionality of the preset templates, add titles, captions, information, links, and graphics, and manage output.

What does ISO alter on the Camera?

ISO controls the amount of light your camera lets in, and therefore how dark or light your photos will be. Here are some top tips to help calculate correct exposure: Low values, such as ISO 100, are best for a sunny outdoor shoot. For shooting at night — or indoors with dim lighting — use an ISO of 1600 or higher.

Testing different ISOs

ISO – 100

ISO – 200

ISO – 400

ISO – 800

ISO – 1600

ISO – 3200

ISO – 6400

How does a high ISO impact your Photos?

ISO is a number that represents how sensitive your camera sensor is to light. The higher the ISO number, the higher your camera’s sensitivity, and the less light you need to take a picture. The trade-off is that higher ISOs can lead to degraded image quality and cause your photos to be grainy or “noisy.”

Intro to ISO and Image Grain/Noise for Photographers (Shooting in Manual Part 5)

When might you want to use a high ISO?

High ISO is generally well suited to low-light situations, especially when a fast shutter speed or a narrow lens aperture is essential to achieving a creative goal. For example, using a higher ISO setting for hand-held street photography at night allows one to use fast shutter speeds to create bright, sharp images.

Brett Weston

Brett Weston seemed destined from birth to become one of the greatest American photographic artists. Born in Los Angeles in 1911, the second son of photographer Edward Weston, he had perhaps the closest artistic relationship with his famous father of all four of the Weston sons.

Intrigued by the many kinds and shapes of kelp he found on the beaches near Carmel, in 1930 Weston began taking close-ups of vegetables and fruits. He made a variety of photographs of cabbage, kale, onions, bananas, and finally, his most iconic image, peppers.

A Slow shutter speed setting allows a greater amount of light to enter, and a Fast shutter speed setting reduces the amount of light. Changing your camera’s shutter speed is one way to adjust the overall exposure of an image. But it also has creative uses, allowing you to control the amount of motion blur (or lack of it) in your images.

The slower the shutter speed, the more motion blur your camera will capture when shooting fast-moving subjects. With long shutter speeds from two to 30 seconds, any movement in the image will blur. This can create a cool effect with landscapes and the sky, as water and clouds turn soft and streaky.

When we take a picture, the camera’s shutter opens to allow light to reach the recording medium, where an an image is created. By controlling how long the shutter stays open, we can control what the resulting image looks like.

Also known as ‘exposure time’, shutter speed is measured in seconds or fractions of a second (tenths, hundredths, or thousands). For example, a slow shutter speed of 1/2 means the shutter remains open for half a second, while a faster speed of 1/2000 means it only remains open for one-two-thousandth of a second.

Useful Shutter Speeds for daily interactions

Eadweard Muybridge

Eadweard Muybridge was an English photographer known for his pioneering work in photographic studies of motion, and early work in motion-picture projection.

Muybridge’s work consisted of pioneering chrono photography of animal locomotion (between 1878 and 1886), which used multiple cameras to capture the different positions in a stride; and for his zoopraxiscope, a device for projecting painted motion pictures from glass discs that predated the flexible perforated film strip.

Doc Edgerton

Harold Eugene “Doc” Edgerton, also known as Papa Flash, was an American scientist and researcher, a professor of electrical engineering at the Massachusetts Institute of Technology. He is largely credited with transforming the stroboscope from an obscure laboratory instrument into a common device.

By 1931, Edgerton had developed a system of stroboscopic light to achieve amazingly sharp high-speed photographs, as well as multi-shot photographs to freeze different stages of a single movement on a single photogram, and the same year he obtained a PhD in Electrical Engineering from MIT.

Edgerton revolutionized photography, science, military surveillance, Hollywood filmmaking, and the media through his invention of the strobe light in the early 1930s.

Hiroshi Sugimoto

Hiroshi Sugimoto is a Japanese photographer and architect. He leads the Tokyo-based architectural firm New Material Research Laboratory.

His use of an 8×10 large-format camera and extremely long exposures has garnered Sugimoto a reputation as a photographer of the highest technical ability. He is equally acclaimed for the conceptual and philosophical aspects of his work.

Sugimoto has spoken of his work as an expression of ‘time exposed’, or photographs serving as a time capsule for a series of events in time. His work also focuses on transience of life, and the conflict between life and death.

Francesca Woodman

Francesca Stern Woodman was an American photographer best known for her black and white pictures featuring either herself or female models. Many of her photographs show women, naked or clothed, blurred, merging with their surroundings, or whose faces are obscured.

Many of her photographs show women, naked or clothed, blurred (due to movement and long exposure times), merging with their surroundings, or whose faces are obscured.

My plan to achieve Shutter Speed images inspired by Francesca Woodman

There are many creative ways to achieve Shutter Speed when taking photographs. Since I am at school and have a limited amount of resources to produce these “Fast and Slow” Shutter speeds, I will be doing the following…

• Wait for Cars to past by
• Get a friend to ride their Mo-ped or Motorcycle down the car park
• People running or dancing
• A bird flying
• Leaves dropping
• Heavy rain

Class Photo shoot

My Finished Images

Exposure time was 0.6 secs

Exposure time was 1.3 secs

Exposure time was 1/30 secs