Engine Photos

Mechanic 1 series

mechanic 2 series

mekanik 3

mekanik 4

Motorcycle

motor love

MotorMenace

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masking to make subject stand out

Motor Aura

Faceless series

Helmet in hand

All together

Surrealist photography is experimental. Photographers employ manual camera settings, imaginative composition, and unusual photo editing techniques to represent unconscious ideas, dreams, and emotions. “Surreal images tend to be dreamlike and tap into people’s unconscious.

Artists who utilise these techniques.

Dora maar

Henriette Theodora Markovitch (22 November 1907 – 16 July 1997), better known as Dora Maar, was a French photographer, painter, and poet. A pioneering Surrealist artist and passionate antifascist activist, Maar’s work spanned a wide range of subjects, from commercial photography for fashion and advertising to documenting the social and economic struggles during the Great Depression. Her art frequently explored Surrealist themes, and her innovative darkroom techniques delved into psychology, dreams, and inner states.

In the 1930s, Maar was one of the few photographers to exhibit alongside prominent Surrealists like Man Ray and Salvador Dalí in major exhibitions in Paris, New York, and London. Her bold and experimental approach to photography was central to the Surrealist movement.

Maar’s political activism and distinctive photographic style also had a significant impact on Pablo Picasso, especially during their romantic relationship. Many believe her influence contributed to Picasso’s creation of Guernica (1937), his powerful anti-war masterpiece. According to Amar Singh, curator of the Amar Gallery in London, “She influenced Picasso to paint Guernica – he had never entered political painting before.”

Picasso depicted Maar in several of his paintings, such as Portrait of Dora Maar and Dora Maar au Chat. However, Maar herself remarked, “All his portraits of me are lies. They’re all Picassos. Not one is Dora Maar,” suggesting that the images Picasso created of her did not capture her true essence.

Man ray

Man Ray (born Emmanuel Radnitzky; August 27, 1890 – November 18, 1976) was an American visual artist who spent most of his career in Paris. He was a significant contributor to the Dada and Surrealist movements, although his ties to each were informal. He produced major works in a variety of media but considered himself a painter above all. He was best known for his pioneering photography, and was a renowned fashion and portrait photographer. He is also noted for his work with photograms, which he called “rayographs” in reference to himself.

jerry Uelsmann

Jerry Norman Uelsmann (June 11, 1934 – April 4, 2022) was an influential American photographer, renowned for his surreal and enigmatic photomontages. Emerging as an artist in the 1960s, Uelsmann gained international acclaim for his unique approach to composite printing, which he used to explore and express the emotional depths of the human experience. Over his six-decade career, his work was showcased in major exhibitions, earned him prestigious awards, and was widely published.

Among his many honors were a Guggenheim Fellowship, a National Endowment for the Arts grant, a Royal Photographic Society Fellowship, and a Lucie Award. Uelsmann described his creative process as a journey of discovery in the darkroom, which he considered a “visual research laboratory.” Rather than adhering to the previsualization technique popularized by photographers like Ansel Adams and Edward Weston, Uelsmann coined the term “post-visualization,” creating his final image after taking the photograph, rather than planning it in advance. This allowed him to construct visual narratives akin to dreams, resulting in works that often felt emotionally more truthful than the physical world itself.

By the 1980s, Uelsmann became one of the most collected photographers in the United States, influencing both analog and digital photographers. Although he admired digital photography, Uelsmann remained firmly dedicated to the craft of black-and-white film photography, preferring the darkroom’s alchemical process.

ERIC Johansson

Erik Johansson (b. 1985) is a Swedish photographer and visual artist based in Prague, Czech Republic. He is known for creating surreal worlds through the combination of photographs. He primarily focuses on personal projects and exhibitions, and his approach to photography is unique in that he seeks to capture ideas rather than moments. Using his camera and imagination, he strives to create a single, realistic image that tells a story, even if it includes elements that seem impossible. Essentially, he works to solve the problem of how to capture the impossible.

WORK PROCESS

Erik places a strong emphasis on realism in his work and aims to make the viewer feel as though they are part of the scene. While much of his process involves post-production and combining photographs, he also makes an effort to capture as much as possible on location. This often involves building props and carefully planning the shoot.

Lighting and perspective are crucial in creating realistic compositions through the combination of images. If certain elements cannot be captured on location, Erik recreates them in a controlled environment. He has a thorough understanding of every aspect of the process, from idea and planning to photography and post-production, in order to ensure that everything comes together seamlessly. Each photograph and element serves a purpose in the final image.

Erik handles all post-production himself in order to have complete control over the final result. The idea, photography, and post-production are all interconnected, and the final image does not surpass the quality of the photographs used to create it. Similarly, the strength of the photographs is derived from the underlying idea.

Erik does not use computer- or Ai-generated material, nor illustrated- or stock images, relying solely on complex combinations of his own photographs. This process is time-consuming, and he produces only about ten new works per year. To learn more about how his images come to life, you can watch his behind-the-scenes videos as well.

Identity is the set of qualities, beliefs, personality traits, appearance, and/or expressions that characterize a person or a group. Identity emerges during childhood as children start to comprehend their self-concept, and it remains a consistent aspect throughout different stages of life

Femininity

Femininity (also called womanliness) is a set of attributes, behaviours, and roles generally associated with women and girls. Femininity can be understood as socially constructed, and there is also some evidence that some behaviours considered feminine are influenced by both cultural factors and biological factors.

Masculinity

Masculinity involves displaying attitudes and behaviours that signify and validate maleness, and involves being recognised in particular ways by other men and women.

Masculinity Photography MoodBoard

How identity can be influenced by “place”, or belonging, your environment or upbringing.

There are many factors that shape identity, and they can be both external and internal factors. Society, family, friends, ethnicity, culture, location, media, interests, self-expression, and life experiences are all common factors that shape identity.

Multiple pathways exist through which families may influence adult identity formation, including levels of social control and monitoring, warmth and closeness, responsibility, and hierarchical family relations 

When we are in familiar surroundings, we tend to feel more secure and strengthen our sense of identity. We feel more in control of our lives and boost our self-confidence. On the other hand, when we lack an established place, a home, we may feel lost and disconnected.

“Placefulness” is an awareness of the place—where one is or where one comes from. And remembering that places shape one’s expectations and understandings of the world. Feeling a sense of belonging is very important.without it, we’re unmoored in the world.but it can also lead to a lack of awareness.

Our sense of identity and belonging is impacted by various factors, including our experiences, relationships, and our environment. The journey to find identity and belonging can often be a struggle, since we ask ourselves, ‘who am I?

Claude Cahun (1894–1954)

Who:
Claude Cahun, born as Lucy Schwob in Nantes, France, was a pioneering photographer, poet, and writer. She adopted the name Claude Cahun as a gender-neutral persona, reflecting her resistance to societal gender norms and her exploration of identity beyond the binary. Cahun’s work was highly experimental, challenging conventional notions of gender, sexuality, and the self.

What:
Cahun is best known for her self-portraiture, which she used as a tool for gender exploration and identity fluidity. She transformed herself into various personas using makeup, costumes, and props, blurring the lines between masculine and feminine. Her works often included surrealist elements, utilizing symbolic imagery and dreamlike compositions to challenge perceptions of reality and identity. Cahun’s photographs also explored the performative nature of identity, questioning how roles and gender are constructed.

When:
Cahun’s most significant photographic work was created in the 1920s and 1930s, during her involvement with the surrealist movement in Paris. Her later works, particularly during the 1940s, became politically charged as she and her partner, Marcel Moore, were involved in resistance activities during World War II.

Where:

Born in Nantes, France, Cahun moved to Paris during the 1920s, where she became part of the avant-garde and surrealist circles. In the late 1930s, she and Moore relocated to the Channel Island of Jersey, where they lived during the German occupation in WWII. It was in Jersey that Cahun’s work took on a more political tone as she used photography for resistance propaganda.

How:
Cahun’s photography was deeply performative, with the artist using herself as the subject to create multiple constructed personas. She utilized props, costumes, and makeup to transform her identity, playing with gender ambiguity and challenging the traditional notions of the feminine and masculine. Her works often included surreal, dreamlike compositions and symbolic imagery. Cahun’s approach to self-portraiture was collaborative, particularly with Marcel Moore, who assisted in capturing many of her most iconic works.

Why:
Cahun’s photography was a direct challenge to societal norms around gender and identity. By using self-portraiture as a tool for experimentation, she questioned the fixed nature of gender roles and explored how identity is shaped by culture. Cahun’s work, much of which was feminist in nature, critiqued the traditional expectations placed on women and offered an early commentary on gender fluidity and sexuality. Her photographs also explored the performative aspects of identity, positioning her as a significant figure in the history of self-representation and early critiques of fixed gender norms.

World war II activism

In 1937, Cahun and Moore moved to Jersey, where they became active in resisting the German occupation during World War II. Opposed to war, they produced anti-German propaganda, including rhythmic poems and critical messages derived from BBC reports on Nazi atrocities. Using the pseudonym Der Soldat Ohne Namen (The Soldier With No Name), they secretly distributed these flyers at German military events, placing them in soldiers’ pockets, on chairs, and in cars. One notable act was hanging a provocative banner in a church that mocked Hitler’s authority. Their resistance was not just political, but also artistic, reflecting their desire to challenge and undermine authority.

In 1944, they were arrested and sentenced to death, but the sentence was never executed due to the liberation of Jersey in 1945. Despite this, Cahun’s health suffered from her imprisonment, and she died in 1954. During her trial, she reportedly told the German judge that they would have to shoot her twice, as she was both a resistor and a Jew, which led to laughter in the courtroom and may have saved her life. Cahun and Moore are buried together in St Brelade’s Church. Their resistance efforts were a deeply personal, lifelong fight for freedom.

LEGACY

Claude Cahun’s work, which remained largely unrecognized during her lifetime, has since gained significant attention for its social critique and revolutionary impact on art and gender norms. She used her photography and writing to challenge societal expectations, particularly those related to gender, beauty, and logic, destabilizing conventional notions of reality. Cahun’s involvement in the Surrealist movement added new perspectives, especially with her portrayal of women not as erotic symbols but as fluid, gender-nonconforming figures. Her work has been described as “prototransgender,” with some considering her a precursor to modern trans self-representation.

Cahun’s life and legacy have gained renewed recognition in recent years. A street in Paris was named after her and her partner Marcel Moore in 2018. Cahun’s WWII resistance work, along with Moore’s, was highlighted in the 2020 book Paper Bullets. She was also honoured by Google in 2021 with an animated Doodle for her birthday. A novel based on her life, Never Anyone But You, was published in 2018, and in 2023, a graphic novel about her life, Liberated: The Radical Art and Life of Claude Cahun, was released, further exploring her artistic and political activism.

Image Analysis

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Visual Aspects

Claude Cahun’s black-and-white self-portrait immediately draws you in with its strong composition and exploration of identity. The image is split between two versions of Cahun: her physical form on the left and her reflection in the mirror on the right. This duality feels deeply personal, almost like a visual representation between how she sees herself and how the world perceives her.

Her androgynous appearance is striking. The short hair, checkered shirt, and upturned collar challenge conventional ideas of femininity. The raised collar seems to suggest she’s hiding a part of herself, while the reflection, showing her bare neck, hints at a more vulnerable side. Creating a interesting contrast between what’s concealed versus what’s revealed.

Her serious expression adds emotional weight. She looks directly at the viewer, almost challenging us, yet she turns away from the mirror, as if rejecting her own reflection. The plain background keeps all the focus on her, amplifying the intensity of her presence and the interplay with the mirror.

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Technical Aspects

The soft, natural lighting in this photo enhances the fluency of the photograph , Shadows are gentle, giving depth to her face and texture to her clothing. The absence of harsh contrasts makes the image feel intimate and smooth.

The composition feels deliberate, with the mirror perfectly aligned to create balance. The camera is at eye level, making the connection between Cahun and the viewer feel direct and personal. Her sharp focus ensures both she and her reflection demand equal attention, forcing us to at least acknowledge the tension between the two.

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Conceptual Aspects

This portrait is a conversation about identity, duality, and self-perception. Traditionally, mirrors in art symbolize vanity or beauty, but here, Cahun flips the script. She doesn’t admire her reflection. she seems to reject it. Her pose suggests discomfort with what the mirror reveals, yet she confronts the viewer head-on, as though asking us to consider the same questions about identity.

The raised collar adds layers to this narrative. It hints at concealment. something she’s choosing not to show us. But the mirror exposes her neck, a symbol of vulnerability and openness. This interplay between hiding and revealing feels universal. Highlighting the internal conflicts we all face about how much of ourselves we show to the world.

Cahun’s choice of clothing and androgynous style were radical for her time. By rejecting societal expectations of femininity, she challenges us to think about gender as something fluid , not as a fixed and deeply cemented concept. This bold self-representation speaks to themes that feel just as relevant today as they did during her time, as she battles her own physical reality with how she really feels.

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Contextual Aspects

Cahun created this photograph in the early 20th century, a time when gender roles were rigid and societal expectations weighed people down heavily. As a French artist associated with Surrealism, she was part of a movement that loved to explore dreams, illusions, and hidden truths. This aligns perfectly with her use of mirrors to delve into identity and self-perception.

During this period, photography was gaining traction as an art form, and Cahun used it not just to create striking images but also to push boundaries. Her work feels like a quiet rebellion/ refusal to conform to the era’s strict ideas of gender and identity.

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Emotional Response

Looking at this photograph, you can’t help but feel a mix of unease and empathy. The direct gaze pulls you in, almost demanding your attention, while the turned-away reflection creates a sense of conflict. It’s as if Cahun is wrestling with self-acceptance, a struggle that feels both deeply personal and universally human.

The raised collar and the mirror deepen this emotional tension. They remind us of the parts of ourselves we keep hidden and the vulnerability of having them exposed. Her serious expression feels heavy, as though she’s carrying the weight of these questions. questions we might ask ourselves, too. In the end, the portrait leaves you thinking about the complex, often contradictory nature of identity, making it as impactful today as it was then.

Clare Rae: Exploring the Body, Landscape, and Performance

Melbourne-based artist Clare Rae is known for her evocative photographs and moving image works that challenge traditional representations of the female body by exploring its relationship with physical environments. In 2017, Rae participated in the Archisle International Artist-in-Residence programme in Jersey, where she delved into the Claude Cahun archive. During her residency, she created new photography and film, ran workshops, and examined Cahun’s connections to Jersey’s cultural and physical landscapes.

Her residency culminated in the creation of the series Entre Nous (Between Us): Claude Cahun and Clare Rae, which debuted at the Centre for Contemporary Photography in Melbourne (March 22–May 6, 2018) and later exhibited at CCA Galleries in Jersey, UK (September 7–28, 2018). Accompanying the series, Rae published Never Standing on Two Feet in April 2018, featuring an introduction by Susan Bright and an essay by Gareth Syvret.

Never Standing on Two Feet: A Feminist Perspective on Landscape and Identity

In this series, Rae investigates how Claude Cahun’s engagement with Jersey’s landscapes shaped her work, particularly in relation to its coastal geography and Neolithic ritual monuments. Rae reflects:

“Like Cahun’s, my photographs depict my body in relation to place; in these instances, sites of coastal geography and Jersey’s Neolithic ritual monuments. I enact a visual dialogue between the body and these environments and test how their photographic histories impact upon contemporary engagements.”

Rae builds on Cahun’s legacy of using self-portraiture to critique the male gaze, positioning her work as a feminist exploration of self-representation. Her practice integrates gesture and performance to reimagine the female body in landscapes, contrasting and unsettling traditional depictions.

Artistic Influences and Methodologies

In an artist talk, Rae contextualized her practice, drawing connections to artists such as Claude Cahun, Francesca Woodman, and Australian performance artist Jill Orr. She highlighted the role of performative photography in her work, where gesture and the body become tools for disrupting conventional narratives. Rae also discussed her engagement with architecture and the body, her methodologies for image-making, and the conceptual outcomes of her projects.

Her work invites viewers to reconsider the interplay between identity, landscape, and performance, building on historical contexts while addressing contemporary feminist concerns. For a deeper exploration of her process and its influences, see the blog post Photography, Performance, and the Body.

Identity self portrait mini project.

This series of photographs delves deeply into themes of identity, self-discovery, and the conflict between societal expectations and personal desires. The illuminated balloon replacing the subject’s head becomes a powerful metaphor, serving both as a mask and a representation of the subject’s emotions and turmoil. The balloon, glowing with a surreal, almost childlike quality, evokes nostalgia for the simplicity and freedom of childhood—a time unburdened by the rigidity and monotony of adult life. Its weightlessness contrasts sharply with the heavy symbolism of the suit the subject wears, a uniform of professionalism that hints at his role as an office worker trapped in the endless loop of societal conformity. The suit signifies the oppressive nature of his identity, reduced to being just another cog in the machine, an “ant” in the larger structure of a system that suppresses individuality.

The balloon also serves as a visual representation of his inner conflict—its glow suggests fleeting moments of clarity and self-awareness, while its fragile, impermanent nature symbolizes his longing to escape the identity forced upon him. The balloon’s presence acts as a mask, concealing the emotions and dissatisfaction beneath, while amplifying his hatred toward the person he has become. The use of color strengthens this narrative: blue evokes sadness and the monotony of routine, purple reflects introspection and the deep yearning for escape, and yellow hints at fleeting hope or memories of a happier, untainted self.

The subject’s body language—tense and reflective—paired with the dramatic interplay of light and shadow, further emphasizes his internal struggle. The darkness around him reinforces his feelings of isolation, while the illuminated balloon stands out, as if mocking him with its surreal brightness, a symbol of both his desire for freedom and his inability to achieve it. By removing the subject’s facial features, the series universalizes its narrative, inviting viewers to project their own feelings of nostalgia, dissatisfaction, or longing onto the imagery. Ultimately, the photographs capture the haunting idea of a man who despises his identity and longs to shed the mask of adulthood, yearning to return to a time when life was defined by freedom, playfulness, and authenticity.

Statement of intent

The intention behind this series of photographs was to explore themes of identity, nostalgia, and the conflict between personal desires and societal expectations. The images were created in my living room, using household lamps as lighting sources to craft dramatic and moody atmospheres. I utilized a tripod to keep the camera steady and relied on a timer to capture self-portraits. To achieve the surreal illusion of the balloon replacing my head, I held a lit-up balloon in my mouth, allowing it to appear as though it were my head glowing with emotion and inner turmoil.

By wearing a formal suit, I aimed to symbolize the restrictive nature of adulthood, particularly the monotonous life of an office worker. The suit represents societal conformity and the feeling of being trapped in an endless cycle of professional obligations, reducing individuality to mere functionality. The illuminated balloon, serving as both a mask and a metaphor for my emotions, embodies the tension between self-awareness and dissatisfaction. Its glow evokes fleeting moments of clarity, while its fragility and playful, weightless nature reflect a yearning to return to the innocence and freedom of childhood.

The colour choices and lighting were intentionally dramatic to convey specific emotions: blue suggests melancholy, purple reflects introspection, and yellow symbolizes fleeting hope or moments of self-discovery. The series aims to capture the struggle of defining one’s identity within societal constraints while expressing the longing to shed the burdens of adulthood and rediscover authenticity and joy.

My attempts at using Coloured gels in the studio.

I used coloured gels and strategic lighting to emphasize contrasts and create a sense of mood and depth in the portraits. Here’s how I approached the process:

Lighting Setup

I placed coloured gels over two types of lights to achieve this effect:

1. Spotlight: Used to direct focused light on the subject’s face or create striking highlights. The gels added bold, saturated colours, like red and blue, which helped shape the mood of the image.
2. Honeycomb Light Modifier: This was key to controlling the spread of light. By narrowing the light beam, I could focus on specific areas of the subject while preventing unwanted spill into the background, allowing for sharp contrasts between light and shadow.

Creative Process

• Colour Selection: I chose complementary colours (e.g., red and blue) to create visual tension and contrast in the portraits. These colours helped highlight the contours of the face and added a dynamic energy to the shots.
• A red gel on the side light created a strong outline of the subject.
• A blue gel from the opposite side added cool highlights.

Camera Settings

1. ISO 100: I selected a low ISO to ensure the cleanest possible image with minimal noise. Studio lighting provides ample light, so a higher ISO wasn’t necessary.
2. Shutter Speed 1/125: Studio flashes have a sync speed limit, and exceeding this (e.g., going faster than 1/125) could result in a partially exposed frame, as the camera shutter might not fully open during the flash. Keeping it at 1/125 allowed me to properly sync with the studio lights without losing any of the exposure.
3. Aperture (f-stop): I set the aperture based on the intensity of the studio lights and the desired depth of field. A moderate aperture (e.g., f/8) helped maintain focus on the subject while keeping the lighting balanced across the face

Shooting Process

• Flash Syncing: The studio flash provided consistent light bursts, so I ensured my settings were in sync with the flash duration for even illumination.
• Colour Gels: The gels absorbed some light, so I occasionally adjusted the aperture to compensate and maintain the correct exposure.

Creative Portraits

Creative Montages

Montages in photography, often referred to as photomontages, are a creative technique where multiple photographs or visual elements are combined to create a single composite image. This approach allows photographers and artists to transcend the boundaries of traditional photography, crafting narratives, exploring symbolism, or simply creating visually striking compositions. Here’s a deeper look into photomontages:

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History and Origins

Photomontage originated in early 20th-century Dadaism, where artists like Hannah Höch and Raoul Hausmann used it to critique political, social, and cultural norms. Höch’s works, in particular, challenged gender roles and societal hypocrisies through cut-outs from mass media. Beyond Dadaism, photomontage became a powerful tool for propaganda and political critique, using juxtaposed images to deliver subversive messages.

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Techniques

Photomontage techniques include the traditional cut-and-paste method, where photographs or printed materials are physically assembled on a canvas for depth. Modern digital tools like Adobe Photoshop have transformed the process, using layers, masks, and blending modes for seamless integration. Adding textures or frames enhances the montage by providing richness, depth, and a tactile or vintage feel.

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Aesthetic and Conceptual Elements

Photomontages can evoke surreal, dreamlike imagery by combining unrelated elements, a technique often associated with artists like Max Ernst. They also carry symbolic meaning, with juxtapositions like a human hand and machinery exploring themes such as labour or technology. Additionally, montages can craft narratives by blending details and scenes that wouldn’t naturally coexist in a single image.

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Applications in Modern Photography

Photomontages are widely used in fine art to create thought-provoking or abstract pieces for gallery displays. In advertising and media, they craft visually engaging content by blending lifestyle imagery with product shots. For personal projects, photographers use montages to explore conceptual ideas or enhance storytelling.

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Examples of Artists

• Hannah Höch: Pioneer of photomontage, known for her feminist and political critiques during the Weimar Republic era.
• John Heartfield: Another Dadaist, whose montages were explicitly anti-fascist, criticizing the Nazi regime through powerful imagery.
• Jerry Uelsmann: A modern pioneer of surreal photomontages, Uelsmann used analogue darkroom techniques to combine multiple negatives into seamless compositions long before digital tools existed.

El Lissitzky

El Lissitzky (1890–1941) was a Russian artist and designer, a key figure in the avant-garde movements like Constructivism and Suprematism. His work spanned painting, graphic design, and architecture, and he sought to reflect the social and political changes in post-Revolutionary Russia.

Lissitzky is especially known for his photomontages—artworks that combine photographs with other graphic elements like typography and abstract shapes. These montages often carried political messages, supporting the Bolshevik Revolution and promoting socialist ideals. His style was bold and geometric, blending dynamic visuals to capture the energy of modern, industrial society.

One of his most famous works, Beat the Whites with the Red Wedge (1919), used a simple red wedge to symbolize the victory of the Bolsheviks over their enemies. Lissitzky’s innovative use of space, color, and form extended beyond montages, influencing architecture and design.

Lissitzky contributions to modern art continue to inspire graphic design, typography, and architecture, and he remains a crucial figure in the history of 20th-century art.

Here is my attempt at recreating some of his work.

My Attempt at recreating his work.

-John Heartfield

(1891–1968), born Helmut Herzfeld, was a German artist and pioneer of political photomontage, renowned for his sharp critiques of fascism and social injustice. A member of the Berlin Dada movement, he used innovative cut-and-paste techniques to create bold, satirical works that exposed Nazi propaganda, such as Adolf, the Superman: Swallows Gold and Spouts Junk and Hurrah, die Butter ist Alle! His photomontages, often published in leftist magazines like AIZ, combined visual allegory and typography to advocate for socialist ideals and workers’ rights. Forced to flee Germany in 1933 due to his anti-Nazi stance, Heartfield lived in exile before returning to East Germany after World War II. His legacy as an artist-activist continues to inspire contemporary visual and political art.

George Hurrell

Who he was: A celebrated portrait photographer of Hollywood’s Golden Age (1930s–1950s), Hurrell is known for his glamorous black-and-white images of film stars.

Connection to butterfly lighting

Hurrell mastered the use of butterfly lighting to sculpt faces with soft, even illumination. By placing a high key light directly in front of his subjects, he highlighted their cheekbones, smoothed imperfections, and created an elegant, polished look. This technique became synonymous with the Hollywood aesthetic, showcasing stars like Greta Garbo and Joan Crawford in their best light.

Caravaggio

Who he was: An Italian Baroque painter (1571–1610) famed for his revolutionary use of dramatic lighting and realism.

Connection to chiaroscuro lighting

Caravaggio’s work exemplifies chiaroscuro, using stark contrasts of light and dark to add drama and emotional intensity. In paintings like The Calling of Saint Matthew and Judith Beheading Holofernes, he directed light to illuminate key elements of the scene, drawing the viewer’s eye to the focal point while surrounding areas fade into shadow.

Rembrandt van Rijn

Who he was: A Dutch painter (1606–1669) whose portraits and self-portraits are celebrated for their emotional depth and technical brilliance.

Connection to chiaroscuro lighting

Rembrandt’s use of chiaroscuro is subtle yet impactful, often combining soft transitions between light and shadow with dramatic contrasts. His works, such as The Night Watch and Self-Portrait with Two Circles, create a sense of realism and intimacy, influencing portraiture and lighting techniques across centuries.

Artist Reference research

1. Annie Leibovitz: Known for her dramatic use of soft lighting and shadows in portraiture.
2. Richard Avedon: Famous for minimalist lighting in studio portraits, highlighting facial expressions and details.
3. Irving Penn: Renowned for his use of controlled lighting to emphasize form, texture, and elegance.
4. Gregory Crewdson: Uses cinematic lighting setups to create complex, mood-driven narratives.
5. David LaChapelle: Known for vibrant and surreal compositions, utilizing bold lighting techniques for impact.

Further detail on my favourite artist, David LaChapelle

David LaChapelle

David LaChapelle is a renowned photographer and director known for his bold, surreal, and hyper-stylized imagery. His work often combines elements of fine art, pop culture, and social commentary, resulting in vibrant and thought-provoking compositions. LaChapelle’s photography is iconic for its extravagant use of colour, dramatic lighting, and creatively staged sets. He frequently collaborates with celebrities, creating editorial pieces that blur the line between fantasy and reality.

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• LaChapelle’s work often addresses themes like materialism, celebrity culture, religion, and human vulnerability. His images tell intricate stories through their elaborate setups and symbolic elements.
• Staging and Detail:
  Every element in LaChapelle’s photographs is carefully planned and executed. He uses custom-built sets, costumes, and props to bring his visions to life.
• Colors: His work is saturated with intense, often unnatural colors that make his images pop.
• Lighting: He uses bold lighting setups to create a sense of drama and dimension, often blending hard and soft light for contrast.
• Surrealism: Props, costumes, and sets are often exaggerated or surreal, adding layers of meaning to his work.

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LaChapelle`s Work

Rembrandt Lighting

• Features: A triangle of light under the subject’s eye on the shadowed side.
• Use: Creates dramatic, moody portraits with a natural feel.
• Setup: Key light placed at 45° above and to the side, creating shadows.

Overview of Rembrandt Lighting

Rembrandt lighting is a classic and widely-used lighting technique in studio portrait photography and cinematography, named after the renowned Dutch painter Rembrandt van Rijn. This lighting style is highly valued for its ability to create dramatic yet natural-looking images with minimal equipment, making it a popular choice among photographers and filmmakers alike.

At the core of Rembrandt lighting is the distinct illuminated triangle, or “Rembrandt patch,” which appears on the subject’s face under the eye on the shadowed side. This triangle of light, typically formed by the nose casting a shadow on the cheek and chin, is a defining feature of the style and contributes to the depth and dimensionality of the portrait. The illuminated triangle adds a sense of realism and visual interest, giving the image a balance of contrast without overwhelming the subject’s features.

Achieving Rembrandt lighting can be done using a single light source combined with a reflector to bounce some light back onto the shaded side of the face, or through the use of two light sources for more control over shadows and highlights. The key to this technique is the positioning of the light: the main light is typically placed at a 45-degree angle from the subject, both horizontally and vertically, so that the light falls across the face in such a way that one side is illuminated, while the other side is left in shadow, with the exception of the illuminated triangle under the eye.

This lighting technique is prized for its versatility and dramatic effect, and it works especially well for creating portraits with a sense of mystery, depth, and emotional impact. It is commonly used in both traditional and contemporary portrait photography, as well as in cinematic scenes where the interplay of light and shadow is used to enhance the mood or character development.

While the style is closely associated with Rembrandt, who used a similar lighting technique in his paintings to create contrast, depth, and a sense of volume in his subjects, it has since evolved into an established technique in modern visual arts. Rembrandt lighting is often contrasted with other portrait lighting techniques, such as butterfly lighting, which produces a more uniform and softer lighting effect, emphasizing a different mood and appearance.

Rembrandt mood board

Originals

studio Lighting photoshoot

Rembrandt Lighting photos

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Butterfly Lighting

Features: A butterfly-shaped shadow under the subject’s nose, created by the light’s high and centered position.

Use: Produces flattering, symmetrical lighting that enhances facial features, softens imperfections, and adds a polished look. Popular for beauty, fashion, and classic Hollywood-style portraits.

Setup: Position the key light directly in front of and slightly above the subject, at a 25–30° downward angle. Use a reflector or fill light below the subject to soften shadows under the chin.

Overview

Butterfly lighting is a timeless and elegant lighting technique commonly used in portrait photography and cinematography. It derives its name from the distinct butterfly-shaped shadow that forms under the subject’s nose when the lighting is properly positioned. Renowned for its ability to produce soft, even illumination, this technique highlights facial symmetry and contours, making it ideal for beauty and glamour photography.

The defining feature of butterfly lighting is the gentle interplay of light and shadow, which sculpts the face and enhances features like cheekbones and jawlines. This style of lighting minimizes imperfections and creates a luminous, polished look, often associated with the iconic portraits of Hollywood’s Golden Age.

To achieve butterfly lighting, place the key light directly in front of the subject and slightly above their eye level, angling it downward at approximately 25–30 degrees. This placement ensures even lighting on the face while casting the characteristic shadow beneath the nose and chin. Adding a reflector or fill light below the subject can further refine the look by reducing shadows under the chin and enhancing the overall softness of the image.

Butterfly lighting is especially effective for creating glamorous and professional portraits. Its ability to flatter various face shapes and skin textures makes it a popular choice for headshots, senior portraits, and beauty campaigns. While traditionally associated with female subjects, this technique can also produce stunning results for male portraits when paired with slight adjustments to highlight strength and confidence.

Compared to other techniques like Rembrandt lighting, which emphasizes dramatic contrast and depth, butterfly lighting offers a clean, radiant aesthetic with smooth transitions between light and shadow. Its versatility and simplicity make it an essential tool for photographers and filmmakers aiming to create refined and timeless portraits.

Butterfly mood board

Originals

This was unsuccessful because the lighting was to soft and not harsh enough to create the butterfly effect.

Chiaroscuro

Features: Strong contrast between light and shadow, creating a dramatic and three-dimensional effect.

Use: Adds depth, mood, and intensity to images, commonly used in fine art, portraiture, and cinematic storytelling.

Setup: Use a single directional light source, such as a spotlight or window, positioned at an angle to create sharp contrasts and defined shadows on the subject.

Overview

Chiaroscuro lighting is a dramatic technique that emphasizes strong contrasts between light and shadow to create a sense of depth, volume, and mood. The term originates from the Italian words “chiaro” (light) and “scuro” (dark), reflecting its focus on the interplay of illumination and shadow. It is a hallmark of fine art and cinematography, often used to evoke emotion, mystery, or intensity.

This technique relies on a single directional light source, such as a spotlight, lamp, or window, placed at an angle to the subject. This setup casts deep shadows and highlights specific areas, sculpting the subject with striking dimensionality. The surrounding areas often remain in shadow, drawing attention to the illuminated elements and creating a focused, moody atmosphere.

Chiaroscuro lighting works particularly well for portraiture, still life, and dramatic scenes. It has roots in Renaissance and Baroque art, with masters like Caravaggio and Rembrandt using it to add realism and emotional depth to their paintings. In modern photography and filmmaking, chiaroscuro is a powerful tool for storytelling, helping to convey tension, intrigue, or character depth.

Compared to softer techniques like butterfly lighting, chiaroscuro is defined by its bold use of contrast and shadow, making it ideal for creating impactful and visually striking images. Its versatility and timeless appeal have made it a staple in both classic and contemporary visual arts.

Mood Board

Originals

Coloured Gels

Whole Photoshoot

EXPLORING LIGHTING

Studio lighting refers to artificial lighting used in a controlled environment, like a photography or film studio, to illuminate a subject. It allows the photographer to manipulate light to create desired effects, emphasize particular features, and achieve consistent results regardless of ambient light conditions.

Why use studio lighting?

1. Provides total control over light intensity, direction, and quality.
2. Enables unique effects like dramatic shadows, soft highlights, or a specific mood.
3. Maintains the same lighting conditions across multiple shots or setups.
4. Helps eliminate unwanted shadows, balance highlights, or fill darker areas.

1-Point Lighting

Setup: A single light source, typically positioned at a 45-degree angle to the subject.

• Use: Creates dramatic shadows and emphasizes texture or mood.
• Drawbacks: May cause harsh shadows on the opposite side of the subject.

2-Point Lighting

Setup: Two light sources — key light and fill light.

• Use: The key light defines the main source of illumination, and the fill light softens shadows.
• Advantage: Balances the shadows while retaining some depth.

3-Point Lighting

Setup: Adds a third light (backlight) to the 2-point system.

• Key light: Primary source, highlighting the subject.
• Fill light: Reduces contrast and softens shadows.
• Backlight: Separates the subject from the background by adding a rim of light.
• Use: Widely used in portrait photography and videography for balanced, professional lighting.

| All original work taken by me|

I took around 170 photos at the market and then used Lightroom to narrow down the selection. This process really helped me focus on the strongest shots, refining the collection to the ones that best captured the environment and energy of the market. In Lightroom, I also made some adjustments to enhance the images, bringing out details and improving the overall look to make each photo stand out. This approach let me transform a large set of images into a more cohesive and impactful series.

I recently went to the market to capture photos of people within their working environments. The experience was both exhilarating and challenging—the constant rush of customers created a lively atmosphere, but it also made it difficult to find the right settings and angles quickly. I was very conscious of the fact that I was on *their* time, not mine, so I had to work efficiently, making adjustments without holding anyone up. Despite the challenges, I love how the shots turned out. Some images came out a bit blurry, so next time I’ll bring a tripod to improve stability and clarity in my photos.

Artists with similar ideas

Jeff wall is a Canadian photographer who also utilised crowded spaces just how my photography does.

Mood board

An environmental portrait is a portrait executed in the subject’s usual environment, such as in their home or workplace, and typically illuminates the subject’s life and surroundings, age, gender, and occupation.

Environmental portrait Analysis ( Mr toft’s photoshoot)

Lighting – Natural / Indoors / Soft Light / Overcast weather / Backlit

Environment – Cattle farm / Workplace / Business

Lifestyle – Farmer / Male / Elderly

No props

Framing – Full length body / Deadpan / Central / positioned in order to stand out from background

Approach – Formal body position ( posed) / unformal facial expression ( unposed )

Gaze – Averted gaze , Not looking at the camera, more natural look.

Cam settings ( Predicted )

Medium aperture ( f/4, f/5.6, or f/8. Those “medium” apertures are small enough to block light from the edges of a lens,) cow behind him is in focus however further back they are out of focus, showing the field of depth is not too deep.

Wide angle lens ( has a focal length of 35mm or shorter, which gives you a wide field of view)

Fast Shutter speed < because you can see that the room is dark and softly lit, meaning the shutter speed was not long enough for the light to be over exposed.

medium ISO, as the image is crisp yet still dark.

August Sander

August Sander (1876–1964) was a German photographer , famously known for his work documenting and capturing German society in the early 20th century.

August Sander’s photography is significant for its organised approach to categorizing people, capturing a wide range of individuals from various parts of life in Germany, often with a focus on class, occupation, and social role.

Social and Class Structures: Sander’s portraits were not just about capturing the physical appearance of his subjects. They were a window into the roles that people played within the larger structure of society. He saw his work as a way to document the complexities of class, identity, and occupation, often exploring how social status and profession were reflected in a person’s appearance and lifestyle

He sought to give respect to the people he photographed, regardless of their social standing. His photography conveys a sense of equality among the subjects in the photographs. He wanted to truly represent the raw reality of life in Germany, from lower class life to high class.

Legacy

Sander’s most famous series, People of the 20th Century, was never fully completed in his lifetime, and much of his work remained unpublished during his career. However, the project has since been recognized as one of the most important photographic projects of the 20th century.

Typologies

A photographic typology is a study of “types”. That is, a photographic series that prioritizes “collecting” rather than stand-alone images. It’s a powerful method of photography that can be used to reshape the way we perceive the world around us.

The concept of Photographic Typologies traces its origins to August Sander’s 1929 portrait series Face of Our Time, which documented the diverse social fabric of Germany between the two World Wars. Sander’s intent was to capture a cross-section of society—its various types, classes, and the relationships that linked them. He recognized that displaying his portraits as a collective series revealed much more than the individual images would convey on their own. Unfortunately his photography had such significance and power that just four years after its creation, the Nazi regime had the photographic plates destroyed and the book banned.

A typology in photography is a study of “types” , a series of images that highlights collective representation rather than isolated, individual shots. This approach shifts the focus to “collecting” and categorizing, and has become a method for reshaping how we view the world around us. The term “typology” itself gained exposure in photography in 1959, when the German artists Bernd and Hilla Becher began documenting the rapidly disappearing industrial architecture of Germany. The Becher’s described their subjects as “buildings where anonymity is accepted to be the style.” Their aim was to document a vanishing landscape, and in doing so, typologies not only captured a moment in time but also invited viewers to reflect on the photographs in the broader context of history and society.

The Düsseldorf School of Photography

The Düsseldorf School of Photography is a renowned institution largely shaped by Bernd and Hilla Becher, whose innovative approach to photography as a typological method left a lasting impact on both their students and the broader photographic world. As professors at the Kunst Akademie Düsseldorf, the Becher’s passed on their meticulous, systematized method of documenting industrial structures ( such as water towers and gas tanks) to a new generation of photographers.

This approach, known as typology, involved photographing similar objects in series to highlight patterns, variations, and subtle differences. The Becher’s emphasized precision and objectivity, treating each subject as part of a larger system rather than focusing on individual characteristics. Their influence at the Düsseldorf School was profound, and their students( such as Thomas Ruff ) , Andreas Gursky, Thomas Struth, and Candida Höfer—took the Becher’s’ principles and expanded them into new directions.

While the Becher’s focused on industrial architecture, their students applied typology to diverse subjects, from urban spaces to portraiture. The Düsseldorf School became a home for photographers exploring the documentary style, with many of their works reflecting an interest in the social, cultural, and architectural landscapes. The school’s rigorous approach to photography turned typology into a significant artistic and intellectual movement, and its influence can still be seen in contemporary photographic practice.

In short, the Düsseldorf School, under the Bechers’ guidance, transformed photography into a tool for analysis and reflection, shaping how we view not just the world around us, but the way we categorize and understand it.

August Sanders Photography Analysis

TECHNICAL ASPECTS

Due to the black and white format of this photograph , it is difficult to pinpoint the type/Origin of the lighting used. However, upon further inspection I am able to infer that the source of light could be natural, emitting from a window in the form of daylight , This is because if you look into the metal bowl grasped by the chef, the lighting seems to be in the shape of a distorted rectangle, which closely resembles a window. Additionally , due to the lighting being softly diffused, and not causing hard tone and definition within the subject/ casting heavily contrasting shadows upon the subjects body and face ( Similar to how artificial light would create a hard light with minimal diffusion) It is fair to say that the lighting is natural due to it having almost identical characteristics to it. Furthermore, due to the angle of the reflection on his head compared to the angle of the light on the bowl, we can also infer that there are multiple windows positioned to the right of the character and in front of him ( due to multiple light sources within the reflections) , all working together to create the scenes lighting and atmosphere.

The tonal range in this shot (the range of tones between the darkest and brightest areas of an image that are captured by your camera.) is wide as their are clearly many points within the image with pure black and pure white , along with a range of shades of grey in-between, This in return creates a lot of contrast within the image which highlights the key features of the chefs face and body outline. Additionally it is easy to tell that this image is perfectly exposed, neither under or over exposed as the detail is still clear and nothing is too dark or too bright, minimising the glare within the shot ( from the reflections).

APERTURE

the Aperture Used to create this shot is most likely quite low in the ranges of f2-4 as these low apertures are great for creating portraits with a shallow depth of field, as seen in the photograph , the subject (chef) is in focus, whereas his background and surroundings are out of focus.

SHUTTER SPEED

Alongside the Low aperture , I predict a fast shutter speed was used in order to combat the amount of light being let in through the lens. ( at least 1/200th of a second handheld or 1/15th of a second on a tripod.) . What supports my prediction is that there is none to minimal motion blur, Meaning either the subject stood incredibly still or a high shutter speed was used to capture the moment in time without any blur.

ISO

The ISO used to take this photo was most likely quite low, as there is no visible grain and the image is crystal clear , additionally the image itself is quite dark meaning a low ISO must’ve been used, which makes sense as the low aperture already lets in plenty of light, meaning that the light sensitivity of the camera doesn’t need to be high, around 100-200 was probably used.

Edward Weston

Edward Weston is a pivotal figure in 20th-century photography, renowned for his ability to transform ordinary objects into visually arresting compositions through careful attention to texture, form, and light.

Weston is most famous for his still-life studies of natural objects, such as seashells, vegetables, and landscapes. He worked primarily in black and white, using large-format cameras to capture extraordinary levels of detail. What set him apart was his commitment to presenting subjects with clarity and precision, which allowed viewers to see familiar objects in entirely new ways. This is where texture becomes key in his work.

Texture as a Visual Language: Texture in Weston’s work acts almost like a language , conveying more than just what the object is, but how it feels, its weight, and its materiality. This was particularly effective in his portraits and nudes, where the texture of skin becomes a focal point, bringing out the softness and imperfections that make each subject unique.

Lighting and Depth: Weston’s mastery of light allowed him to accentuate texture. Whether photographing sand dunes or the rough bark of a tree, his controlled use of light created a strong sense of depth. Shadows played a crucial role in defining textures, giving the objects dimension and life.

lighting plays a crucial role in how texture is perceived in photography. Different lighting setups can either enhance or diminish the visibility and impact of textures in your subjects. Here’s a breakdown of various lighting techniques and how they affect texture:

1. Natural Light

Soft Diffused Light: On overcast days or in shaded areas, the light is soft and diffused. This type of lighting reduces harsh shadows and can make textures appear smoother. This is ideal for capturing the subtle textures of skin or delicate fabrics, as it minimizes the risk of unflattering shadows.

Direct Harsh Light: Direct sunlight creates strong contrasts, accentuating textures and details. This is effective for subjects with rough surfaces (like bark or stone), as it brings out the details. However, it can also create unflattering shadows on smoother textures, so it’s best used with care.

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2. Side Lighting

Texture Enhancement: Side lighting, where the light source comes from the side of the subject, creates shadows that define and accentuate textures. This technique is often used in portrait photography to enhance facial features and in still life to bring out the texture of objects.

Example: When photographing a crumpled piece of fabric, side lighting can cast shadows in the folds, highlighting the texture effectively.

3. Backlighting

Silhouette and Edge Definition: Backlighting occurs when the light source is behind the subject. This can create silhouettes and emphasize the edges of textured subjects, but it might obscure finer details unless the subject is translucent (like a leaf).

Example: A backlit leaf can show intricate veins and textures if the light shines through it, but a backlit rock may lose its details.

4. Top Lighting

Flat Texture Effect: When light comes from above, it can flatten the texture, making it less pronounced. This is often useful for creating even illumination in food photography, where you want to show the overall look of a dish rather than its texture

5. Low Angle Lighting

Dramatic Texture: Low-angle lighting can create long shadows and enhance textures dramatically. This is especially effective for landscapes or architectural shots, where the texture of the ground or building surfaces is emphasized.

Example: Photographing a rough stone path at sunset with low-angle light can create long shadows, enhancing the texture of the stones.

6. Coloured Light

Mood and Texture Perception: Using coloured gels or filters can affect how textures are perceived. Warmer tones might make textures feel softer or cosier, while cooler tones can give a sharper, more clinical feel. Experimenting with coloured light can help you convey different moods through texture.

Photoshoot + PnX process to slim down options

Finalised Selection of Photographs

Shoot summary

In this series of images, my goal was to capture the intricate textures of the yellow pepper, onion, and lemon. To achieve this, I left them sliced open for a day or so, allowing their skins to dry and develop more pronounced wrinkles and edges. This added an organic, tactile feel to the subjects, which is a nod to Edward Weston’s approach of emphasizing texture in his work. By letting the surfaces age slightly, I could highlight the roughness and imperfections, which contrast beautifully with their smoother interior sections.

I used hard side lighting across the series to accentuate the edges and ridges of the fruits and vegetables. The strong light source really made the textures pop, casting shadows that enhance the contours and fine details of the dried surfaces. It was essential to bring out those natural lines and depth, giving the objects a more three-dimensional quality.

To add a sense of freshness and visual interest, I coated the vegetables, fruit, and the wooden surface with water. This created a dynamic reflection and added to the textures, balancing the dryness of the skins with a sense of moisture and life. The water coating helped elevate the visual impact by introducing contrast between the dry textures and the glossy reflections, giving the series a fresh yet natural feel.

Editing

Just like Edward Weston, I chose to convert my images to black and white, which further emphasizes the textures I wanted to capture. By removing the distraction of colour, it lets the viewer focus more on the contrast between the light and shadows. The monochrome palette heightened the details of the dried skin, the wrinkled surfaces, and the organic forms of the pepper, onion, and lemon. The lack of colour allowed the intricate textures to become the main focus, highlighting every ridge, crease, and line. This decision, inspired by Weston’s approach, helped enhance the sense of form and texture, making the photograph feel more dramatic and rough.

I also decided to turn down the exposure on the original image due to the artificial lighting of my lamp, the lighting is very strong and bright , and i wanted to add a more natural feel and diffuse the light slightly.

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Visual Elements

Visual elements in photography are a key factor in creating a well composed, eye catching and successful image in photography. These elements include ;

• Line: Lines can guide the viewer’s eye through the image, create depth, and emphasize specific areas. They can be straight, curved, horizontal, vertical, or diagonal, each conveying different feelings and movements.
• Shape: Shapes are formed by the lines in the image and can create visual interest. They help to establish a focal point and can be geometric or organic.
• Space: The use of negative space (the area around the subject) can enhance the composition by providing breathing room and emphasizing the subject. It can also convey isolation or create a sense of balance.
• Repetition: Repeating elements can create rhythm and harmony within a photograph. This can include patterns, shapes, or colours that draw attention and create unity.
• Texture: Texture adds depth and interest. It can evoke a tactile response and make the viewer feel a connection to the subject. Highlighting texture can also enhance the overall mood of the image.
• Colour: Colour influences mood, emotion, and attraction. It can draw the viewer in or create contrast and tension. Understanding colour theory can help in making more impactful choices.
• Value/Tone: The use of light and dark tones helps in defining shapes and adding depth. High contrast can create drama and clear separation, while softer tones can embrace calmness and mood

James Welling

James Welling is a prominent American photographer known for his innovative exploration of texture, color, and abstraction. His work often blurs the boundaries between photography and other art forms, reflecting his deep engagement with the medium.

Welling’s approach to texture is particularly notable in several series, where he uses various techniques to emphasize surface qualities. For instance, in his “California” series, he captures the textures of natural landscapes, highlighting the interplay of light, shadow, and color. This creates a sensory experience, inviting viewers to engage with the physicality of the images.

In other works, like his “Glass” series, Welling uses transparency and reflections to explore the texture of glass itself, playing with the viewer’s perception. His use of layering and digital manipulation further enhances the tactile qualities, making the viewer aware of the medium’s limitations and possibilities.

Overall, Welling’s exploration of texture serves not only as a visual element but also as a means of challenging traditional notions of photography, inviting contemplation about the relationship between image and reality. His work encourages viewers to engage with the physical and conceptual aspects of texture in new ways.

Photoshoot 1

I approached this project by experimenting with various lighting setups on paper to explore how light affects its texture and form. I used different angles, intensities, and even colors of light to create a variety of visual effects. Each shot offered a unique interplay of highlights and shadows, allowing me to capture different moods and visual textures.

Once I had taken the photos, I exported them into Lightroom to begin the sorting process. I used the PNX process to streamline my collection. This method helps me quickly narrow down the shots, highlighting the ones that stand out and removing any that don’t fit vision.

To make things more organized, I also applied Lightroom’s star rating system, assigning ratings to my favourite shots. This makes navigating through my best photos much easier, ensuring I focus on the strongest images as I move forward in editing for the final selection. It’s a practical and efficient way for me to manage a large batch of images and stay focused on my vision.

For this shot, I used a long shutter speed and a low ISO to maintain the image’s quality while allowing sufficient time for the light to fully interact with the subject. The low ISO setting helped avoid introducing noise into the image, ensuring the paper texture remained sharp and clean.

The extended shutter speed was crucial here, as it allowed the camera to capture all the available light. This technique ensured that the image was perfectly exposed, balancing both the highlights and shadows in the frame. The crumpled paper was illuminated beautifully, while the long exposure helped enhance the depth and richness of the colors.

What really makes the image stand out is how the long shutter speed also created the neon red glow above the paper. As I moved a light source—or perhaps used a continuous light like LEDs—over a longer period, the camera captured the movement, which resulted in those dynamic light trails. This not only added a sense of motion but also emphasized the futuristic and abstract feel of the photo. It’s a technique that blends still life with light painting, creating a dramatic yet controlled effect.

In Lightroom, I further enhanced the images by making key adjustments to emphasize the lighting effects. I raised the contrast to create more separation between the highlights and shadows, which brought out the textures of the paper and made the light trails more striking. Lowering the exposure helped deepen the darker areas, creating a moody atmosphere while keeping the lighting sharp and vibrant.

I also increased the white balance, which enhanced the warmth and intensity of the lights, particularly in the red and neon tones. Finally, I deepened the blacks, which made the lights stand out even more against the dark background, creating a stronger visual impact. These adjustments allowed the photos to feel more polished, with the lighting effects taking center stage while still retaining the crisp details of the paper.

In this series of photos, I explored the interaction between light and paper, using long shutter speeds to blend creative lighting effects with crisp, detailed images. Each photo allowed me to play with different lighting setups, whether it was coloured lights, moving light sources, or a combination of both. By using a long exposure, I captured not just the stationary subject ( crumpled paper, in this case) but also the movement of light around it.

The long shutter speeds gave me the flexibility to introduce dynamic lighting effects, such as light trails or glowing neon tones, while keeping the paper itself sharp and textured. The extended exposure times allowed the camera to fully process the movement of light, creating ethereal and abstract patterns that contrasted beautifully with the stillness of the paper.

The key was balancing the technical settings. I used a low ISO to retain image quality and minimize noise, while adjusting the shutter speed to capture the perfect amount of light for each shot. This combination allowed me to achieve a unique blend of crisp textures and flowing light effects, resulting in visually striking images.

Virtual Gallery

I recently created a virtual gallery on Art steps to showcase my photography of paper and lighting. It was exciting to curate a selection of my images that explore the unique interplay between textures and light. Using the platform, I designed an immersive experience that allows viewers to navigate through my work, which feels like a personal journey into my artistic vision.

As I arranged the images, I focused on creating a harmonious visual flow throughout the gallery. For example, I grouped photos with similar colour palettes together, which helped create a cohesive look. This intentional matching not only draws the viewer’s eye across the space but also enhances the overall mood of the exhibition.

GIF!

I decided to create a dynamic GIF featuring a paper ball illuminated by light in motion. To start, I took a series of burst photos while rotating a light stick around the paper ball. This technique allowed me to capture the movement of the light when putting the photos in a repetitive sequence.

Once I had my burst photos, I turned to Canva.com for the editing process. I uploaded all the images into a new project, carefully arranging them in sequence to create a smooth transition. Canva made it easy to adjust the timing between frames, allowing me to fine-tune the speed of the GIF to emphasize the swirling light effect.

After finalizing the design, I exported it as a GIF, and the result was a smooth animation that effectively conveyed the interplay of light and texture.

PHOTOSHOP