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Ansel Adams

Who is ansel adams ansel?

Ansel Adams was a famous American photographer, known for his black-and-white photos of nature, especially landscapes like Yosemite National Park. He had a unique way of capturing the details and contrasts in his photos, which made them stand out.

He also created the Zone System, a method that helped photographers get the perfect exposure and tonal range in their shots. Besides his photography, Adams was passionate about protecting the environment and pushed for the preservation of national parks. His work has had a huge impact on both photography and the conservation movement.

About his childhood:

He was born on February 20, 1902, in San Francisco, California, to a wealthy family. His father, Charles, was a successful businessman, but his mother, Olive, was a more artistic influence on him. However, Ansel had a somewhat difficult early life. He had a rough start with his education, he was a bit of a daydreamer and had trouble fitting in at school, partly because of a broken nose he suffered from a fall, which made him self-conscious.

Because of this, he was largely homeschooled, and that gave him more time to focus on his personal interests. As a child, he was fascinated by nature and often spent time outdoors, especially in the San Francisco Bay Area. His love of nature, particularly the mountains, became a major theme in his future photography work.

Sierra Club:

The Sierra Club is one of the oldest and most influential environmental organizations in the United States. It was founded in 1892 by John Muir, who was a major advocate for preserving the natural beauty of the American wilderness.

1927

In 1927, a significant event in Ansel Adams’s life occurred: he had his first solo exhibition of photographs. This exhibition was held at the Crocker Art Gallery in Sacramento, California. It was a big milestone for him, as it marked the beginning of his professional career as a photographer. At the time, he was still experimenting with photography, focusing mainly on landscapes.

Around this time, Adams was also taking lessons from photographer Edward Weston, who would go on to become an important mentor to him. This period helped Adams refine his technical skills and solidify his commitment to landscape photography.

So, 1927 was a pivotal year where Adams started to transition from a passionate hobbyist into a professional

Involvement besides photography:

Environmental Activism: He was a big advocate for nature and worked hard to protect national parks, especially Yosemite. His photos helped raise awareness about the importance of preserving these places.

Writing and Teaching: Adams didn’t just take photos, he also wrote books on photography and taught others about it. His books like “Making a Photograph” are still helpful to photographers today.

Music: Before photography took over, Adams was really into music. He was a talented pianist and even thought about pursuing a career in music at one point.

Government Work: He advised the U.S. government on environmental and artistic issues, even being part of boards that worked on preserving natural places and supporting public art.

When were Ansel Adams’ images first used for environmental purposes?

Ansel Adams’ images were first used for environmental purposes in the early 1930s. One of the most notable early instances was in 1933, when Adams was invited by the U.S. government to photograph the national parks and public lands for the Department of the Interior. His stunning photographs of places like Yosemite, Grand Canyon, and the High Sierra helped capture the beauty and importance of these areas, making a strong case for their preservation.

Kings Canyon

Kings Canyon was at risk of Development and Logging: In the early 1900s, there were plans to build dams and develop the area for agriculture, hydroelectric power, and commercial logging. These actions would have disrupted the natural landscape, altered ecosystems, and reduced the beauty and biodiversity of the region.

Water Projects: One of the biggest threats to Kings Canyon was the construction of a large reservoir system, including the proposal for the Big Pine Dam. This would have flooded parts of the canyon and severely impacted the natural environment, especially the wildlife and plant species dependent on the river.

Tourism and Overuse: As with many national parks, the growing number of visitors posed risks to the park’s delicate ecosystems. Overuse of the land, including the destruction of habitats by tourists, would have had long-term damaging effects.

How did ansel adams help with protecting the high sierra?

In the 1930s, Adams began capturing the stunning landscapes of the High Sierra, including its rugged mountains, lakes, and wilderness areas. His breathtaking black-and-white images were used to promote the protection of the region. These images became a powerful tool to show the public and lawmakers why such areas needed to be preserved.

Ansel Adams visualisation:

In terms of Ansel Adams, visualization refers to his process of mentally planning and imagining a photograph before taking the shot. It’s a technique he developed that involves seeing the final image in his mind’s eye, even before capturing it with his camera. Adams believed that successful photography starts with the photographer’s ability to mentally visualize the image they want to create, this allows them to control every aspect of the scene, from composition to exposure.

Romanticism

What is Romanticism?

Romanticism was an art and literary movement from the late 1700s to the 1800s. It pushed back against logic and reason, focusing instead on emotions, nature, and personal expression. It aimed to capture deep feelings and the wild beauty of the world.

Facts About Romanticism

  • Who: Artists like J.M.W. Turner and John Constable, poets like William Wordsworth, and composers like Beethoven.
  • What: A movement that highlighted emotion, imagination, and nature.
  • Where: Started in Europe, mainly in Germany, Britain, and France, then spread.
  • When: Late 18th to mid-19th century.
  • How: Expressed through paintings, poetry, and music that captured the power of nature and human emotions.
  • Why: It was a reaction to the Industrial Revolution and the cold, logical focus of the Enlightenment.

The Sublime

The Sublime is all about the overwhelming power of nature, huge mountains, wild storms, or endless oceans that make people feel tiny. Romantic artists loved showing this contrast between human life and nature’s vastness.

J.M.W. Turner (1775–1851)

  • Turner painted with bold colors and light to show nature’s energy.
  • Famous for works like The Fighting Temeraire and Rain, Steam, and Speed.
  • His art often captured The Sublime, showing wild seas and dramatic skies.

John Constable (1776–1837)

  • Constable painted calm, detailed scenes of the countryside.
  • Known for The Hay Wain and Dedham Vale, celebrating everyday rural life.
  • His work was more peaceful compared to Turner’s dramatic style.

Key Words and Terms

  • The Sublime: The feeling of awe when facing nature’s power.
  • Emotion: A big part of Romantic art, often shown in dramatic scenes.
  • Nature: A main theme, focusing on its beauty and unpredictability.
  • Imagination: Valued over strict logic and reason.
  • Individualism: Celebrating personal expression and feelings.
  • Picturesque: The charm of irregular, natural scenery.
  • Dramatic Light: Used by Turner to create intense moods.
  • Atmospheric Perspective: A technique to add depth and feeling.

Today, landscape photography often follows Romantic ideals, capturing nature’s drama and beauty, much like Turner and Constable did in their paintings.

Notes:

was not a very popular genre in this period of time, very large painting of a store river where john constable grew up at noon – before it was called The Hay Wain. Constables father was landowner, a lot of economic stress and relation to the industrial revolution. The industrial revolution presumed to have had taken workers away. Because landscape were not very popular at the time, this time of very large painting gave a shock factor in which wasn’t very expected. No sense of nature to be thought in this sense of moment, an expression of his own personal experiences. The use of nature now has meaning for the advancement into large cities which many do not have much experience with nature, this made his artwork stand out. The texture of the photos made it so you could feel the rivers and foliage, in which his artwork relates to his experiences in growing up with a lot of nature and his actual art skills to replicate this.

Landscapes

What does “landscape” mean?
In art, “landscape” refers to a genre that depicts scenes of nature, including natural scenery like mountains, valleys, trees, rivers, and forests, often showing the relationship between humans and nature. The term can also apply to depictions of rural or natural settings in visual art, where nature is the central subject.

When did landscape emerge as a genre in Western culture?
Landscape as a distinct genre began to emerge in Western culture during the Renaissance period (14th-17th centuries), but it wasn’t yet considered a standalone genre. Initially, landscapes were often part of religious or historical paintings, serving as backgrounds. It wasn’t until the 17th century, particularly in the Netherlands, that landscape painting started to gain recognition as an independent genre, moving away from religious themes.

When did classical landscapes emerge as a genre?
Classical landscapes, influenced by Ancient Greek and Roman ideals, began to take shape during the 16th and 17th centuries. The classical landscape was rooted in a sense of harmony, balance, and idealized nature. It was during the Baroque period (1600-1750) that the classical landscape genre reached its peak with artists like Claude Lorrain and Nicolas Poussin, whose works often depicted idealized, calm, and peaceful rural scenes.

What prompted the rise of Landscape Art during the late 18th/19th century?
The rise of landscape art in the late 18th and 19th centuries can be attributed to several cultural, social, and intellectual shifts:

  1. The Enlightenment: Intellectual movements in Europe emphasized reason, science, and the study of nature, leading to a greater appreciation of the natural world.
  2. Romanticism: The Romantic movement (late 18th–mid 19th century) glorified nature as a source of beauty, mystery, and emotional expression, which spurred an increase in landscape painting.
  3. Industrial Revolution: As the Industrial Revolution began transforming urban environments, artists began to seek solace and inspiration in nature, reflecting on the contrast between industrialization and the natural world.
  4. Tourism and the Grand Tour: Wealthy Europeans, especially the English, traveled across Europe and visited scenic areas, which led to an increased demand for landscape art as souvenirs.
  5. Scientific Exploration: Advancements in exploration and natural sciences prompted interest in documenting the natural environment, inspiring both artists and photographers.

When did landscape photography originate?
Landscape photography began in the mid-19th century, around the 1830s and 1840s. One of the earliest pioneers of landscape photography was Hill and Adamson, who began working in Scotland in the 1840s. The first significant strides in landscape photography are also attributed to photographers like Carleton Watkins and Ansel Adams, especially in the United States, where the natural beauty of the western states was captured. The invention of the daguerreotype in 1839, followed by advancements in photographic technology, made it possible to capture detailed, realistic images of nature.

Nikita Pirogov

Editing

For the editing on these photos, they were quite simple in which I just tried my best to light up the features of the person and help more with the colouring to enable the emotions in the photos to be expressed more clearly. For example in the photo above in which I had adjusted the sliders to make the images a little bit darker and lighter bits in the photo stand out more.

I also cropped all of them to the right size, fitting them all in a way that makes not only the image sizes the same but also the head sizes, making the photos all look more in proportion to each other. For example in the image above, it shows how I used the cropping tool to just extract the headshot to fit in with the others.

The way I ordered the photos was purposely done to help show some type of meaning towards them, creating a sense of story with the subject almost like they are getting antagonized by the shouting of the other photos, with it getting worse and worse as you go down the rows. I was able to do all of this in the printing section of lightroom, enabling me to also make the presentation of my final outcome grid by changing the margins and cell spacing.

Final outcome

Virtual Gallery

In the artsteps virtual gallery, i have made it so there is every single individual photo in my final piece has been added. i have also added the final piece in its grid format to kind of show all the photos that went into it in more detail.

Evaluation

I think the final outcome was in my opinion quite successful, as I was able to kind of tell a story with the photos pretty much only with the expressions and faces made. In which while i was editing I had these intentions, describing the identity of which the person shows in the form of reactions towards the other photos in the grid. Regarding towards the artist reference, it kind of goes its own way but still remains in the artists technique of the images telling some type of story. But one thing I would like to do differently was that I wish I took more photos in general as this would of made it easier to pick certain faces and expressions that clearly show the emotions i was looking for.

Additional Photoshoots:

Raw photos:

Edits:

Virtual Gallery:

Presentation:

Identity ideas

Mood board

Plan/Themes

The first image reflects my love for football, especially Liverpool. I could use this idea for my photoshoots since a lot of my friends play football. I could snap shots of them in play, like dribbling, passing, or celebrating goals, or just catch them in their kits, showing moments of their teamwork or focus.

Another one I could possible do is a family gathering for christmas and the holidays, as this could represent almost like an environmental portraiture of different family members next to christmas decorations and lights.

There are many options I could choose from that are in relation to my identity but I think I will most likely refer my photoshoots to artists references, such as:

Christoffer Relander

Relander’s photography is all about showing how complex and layered identity can be. He doesn’t just capture portraits of people; he blends them with landscapes, nature, and other elements to suggest that our identity is not just about who we are, but also where we’re from and what surrounds us.

By merging human faces with trees, mountains, or skies, Relander suggests that our identity is connected to the natural world. It’s not just about us as individuals, but how we fit into a bigger picture, our relationship with nature, the environment, and the universe.

Relander’s approach, using double exposure, lets him create a deeper story about identity in each photo. It’s not just about showing someone’s face, it’s about showing the multiple sides of who they are. Relander’s process is a mix of skill and creativity. He doesn’t just take pictures; he carefully crafts his shots to tell a deeper story about who we are.

Nikita Pirogov

Pirogov’s photos probably aim to dig deeper into who people are, not just how they look on the outside. They might focus on moments of vulnerability or the quiet details of life, showing how identity is more than just a surface thing. Whether it’s about personal transformation or how we belong to different groups, their photography could help us think about the emotional side of identity.

Pirogov might take photos of individuals in everyday settings or staged moments that bring out the complexities of identity. The subjects could range from close up portraits to broader scenes that show cultural or social identity. The photos might explore issues like gender, race, or social class, focusing on real people and real stories.

Pirogov likely uses light, composition, and emotion to make their photos feel intimate and raw. Whether they’re using soft natural light for calm, personal moments or high contrast for something more dramatic, how they light their subjects would say a lot about the mood of the photo. Their photos probably show real, honest emotions, giving you a sense of connection with the person in the picture.

Action plan:

Will try to take multiple photos involved with nature such as Queen’s Valley Reservoir or Millbrook. But I will try to take as many photos as I can regarding foliage, trees and that nature. I will probably do this photoshoot during one my days i leave school early or the weekend to make sure I have the appropriate amount of lighting for my photos to work. I will also try to take more photos of portraits either at home or in school to allow more diverse photos. I could also use photos i already have on my phone that I have taken but will have to find out how to directly transfer them.

Practice editing

Identity Portraiture

Moodboard

Identity

“Identity” is basically who you are, it’s made up of the things that define you, like your values, beliefs, and how you see yourself. It also includes how others see you. Your identity can be shaped by lots of things, like your background, experiences, and the society you’re part of. It’s not fixed and can change over time as you grow or as you’re exposed to new ideas.

Femininity

Femininity is the set of qualities or behaviors that society often associates with women, like being nurturing, emotional, or gentle. These ideas about femininity can vary from culture to culture and can change over time. It’s not something that everyone who is female has to follow, and today, many people are pushing back against these old stereotypes of what women should be like.

Masculinity

“Masculinity” is similar to femininity, but it’s about the traits traditionally linked to men, like being strong, independent, and assertive. Just like femininity, ideas about masculinity are shaped by culture and society, and they’ve evolved a lot in recent years. Now, more people are recognizing that there are many ways to express masculinity, and it’s not limited to just a few behaviors.

Gender Identity

Gender identity is how you personally feel about your gender, whether you feel like a man, a woman, or something else entirely. Society often has certain ideas about how men and women should act, but those ideas aren’t the same everywhere, and they’re always changing. Growing up in a place where there’s a lot of pressure to act a certain way based on your gender can affect how you see yourself, but so can being in an environment where people are more open-minded about gender.

Cultural Identity

Cultural identity is about feeling connected to the culture or traditions of the group you’re from, like language, food, religion, or customs. If you grow up in a place where that culture is important, it can become a big part of who you are. But if you move to a new country or grow up in a mixed community, your cultural identity might become more fluid as you blend influences from different places.

Social Identity

Social identity is how you define yourself based on the groups you belong to, like your family, community, or class. Your social identity affects how you see yourself in relation to others and how you feel about your place in the world. For example, if you grow up in a working-class family, that might shape how you think about success or what kinds of opportunities are possible for you.

Geographical Identity

Where you’re from, whether it’s a specific country, city, or neighborhood, can shape who you are. The place you live affects your values, your lifestyle, and how you relate to the world. If you’re from a small town, you might have a different sense of community or pace of life compared to someone from a big city, for example.

Political Identity

Political identity is about where you stand on issues like government, rights, and power. This is often influenced by the values you were taught growing up, the society you live in, and the political climate of your country. So, someone raised in a conservative family might have a different political identity than someone from a progressive background.

Loss of or Lack of Identity

Sometimes people feel like they’ve lost their sense of identity or never really figured out who they are. This can happen if you go through big life changes, like moving to a new place or dealing with personal struggles, or if you’re stuck in a situation where you don’t feel like you belong. It can be confusing and leave you unsure of where you fit in.

Stereotypes and Prejudices

Stereotypes are oversimplified ideas about certain groups of people, and prejudices are biased attitudes based on these ideas. These can influence how you see yourself or how others see you. For example, if society expects women to be nurturing, a woman who doesn’t fit that mold might feel like she doesn’t belong, or she might be judged unfairly.

Cindy Sherman

She is among the most significant artists of the Pictures Generation, responding to the mass media landscape surrounding them with both humor and criticism, appropriating images from advertising.

At first painting in a super-realist style in art school during the aftermath of American Feminism, Sherman turned to photography toward the end of the 1970s in order to explore a wide range of common female social roles, or personas.

What was the purpose of Cindy Sherman’s photography? To portray the various roles and identities of herself and other modern women. Influenced by a previous generation of performance artists, Sherman developed a fascination for disguise, a fascination that had been with her since childhood, now in encounter with her own camera.

She meticulously constructs her photographs, controlling every aspect of the image, including makeup, costumes, lighting, and settings. Through her elaborate and often satirical transformations, Sherman encourages viewers to question societal norms and expectations, particularly those imposed on women.

Cindy Sherman’s work is characterized by her use of self-portraiture to create fictional characters and explore themes such as identity, representation, and the construction of femininity.

Image Analysis

Shows an photo of a woman dressed in a type of evening and seems to going somewhere important. Likely to have a narrow aperture and longer depth of field to show the smoke and her dress. The subject looks to be set in some type of living room or kitchen but it is uncertain to the limited visuals shown in which is a very eery scene in where much things seem to be disturbed and uncertain. I think before the photo was taken, there was some type of action, what makes me to believe this is that the person seems to be quite protective and startled, with her hiding the side of her neck and holding what seems to be a evening bag but with a very similar shape to some type of knife. In the background there is a mirror, in which shows her back and the vulnerability she has.

The mirror shows what looks to be a cloud of smoke but also in the foreground, telling us that she isn’t alone and that someone could potentially be smoking in the room as well. The frame of the photo also makes it so there is a sense of unknown and that there could be many factors that take place in the story of it. The reflections of a cocktail glass and a jacket slung over a chair, hint at a second, troublingly absent figure, who’s next move we can only imagine.

This suspense feels second-hand because elements like Sherman’s black dress and the pearl-clutching gesture remind us of horror and melodrama films from the 1950s and early ’60s, where women were often shown as victims or sex objects. Sherman hints at these old tropes but also pushes back against them. Her character holds a knife-shaped object in her right hand, maybe even challenging the idea of victimhood that the scene brings to mind. She’s caught between a nostalgic view of women as passive icons and the possibility of feminist empowerment. Film theory often looks at Sherman’s work, especially how it plays with genre and critiques the limiting male gaze in cinema.

Claude Cahun

Cindy Sherman and Claude Cahun both use photography to explore identity and challenge ideas about gender. They take self-portraits, changing their appearance to show that identity isn’t fixed. Cahun’s photos often used disguises to blur gender lines, questioning how society sees men and women. Sherman did something similar in her “Untitled Film Stills,” where she plays different female characters and challenges how women are usually shown in movies. Both artists use costumes and changes in appearance to make us think about how society defines gender and identity. While Cahun worked first, Sherman’s art is often compared to hers for exploring the same ideas.

Claude Cahun was a French artist and writer, known for her unique self-portraits that played with gender and identity. She often dressed up in different costumes and poses, blurring the lines between genders and questioning traditional ideas about who we are. Her work focused on the idea that identity isn’t fixed, it’s fluid and can change. Cahun was part of the surrealist movement and worked closely with her partner, Marcel Moore. She explored themes of gender, sexuality, and self-expression long before these topics became popular in the art world. Besides her photos, Cahun also wrote poems and essays about identity and society. While her work wasn’t widely recognized during her life, it has gained a lot of attention in recent years.

Claude Cahun was born as Lucy Schwob on October 25, 1894, in Nantes, France. She later adopted the name Claude Cahun as part of her artistic and gender identity exploration.

Claude Cahun’s work challenged traditional ideas about identity, gender, and self-expression. Through surreal self-portraits, she blurred the lines between male and female, exploring themes of transformation and ambiguity. Cahun sought to break free from societal expectations and fixed roles, particularly for women, promoting personal freedom and empowering people to question rigid norms.

She achieved this by photographing herself in different costumes, mixing masculine and feminine looks to show that gender isn’t fixed. Her work highlighted the fluidity of identity and encouraged people to question societal labels and embrace more open expressions of gender and self.

Cahun also had a strong connection to Jersey, where she and her partner, Marcel Moore, moved in 1937 to escape fascism. During WWII, they joined the resistance against the German occupation, using art and writing to defy the Nazis. Cahun lived in Jersey until her death in 1954, and today the island honors her legacy with exhibitions and a museum dedicated to her work.

Creative Portrait

Moodboard:

 inspiration behind styles:

Double/Multi-Exposure:

Double/Multi exposure photography is when two photos are combined into one, creating a surreal or artistic effect. Originally done by exposing the same film twice, it’s now mostly achieved with photo editing software like Photoshop. The idea is to blend two images together, such as layering a person’s face over a landscape, so that they merge into something unique and visually striking. This technique is a fun way to tell a story or add a dreamlike, creative twist to your photos.

Juxtaposition:

Juxtaposition photography is when two contrasting or opposing elements are placed together in a single photo to create an interesting or thought-provoking effect. It’s all about showing differences, like combining old and new, light and dark, or nature and urban life, in one shot. This contrast can highlight unique details, create tension, or tell a story by making the viewer think about how the elements relate to each other. It’s a powerful way to capture striking visuals and evoke emotion or curiosity.

Montage photography is when multiple photos are combined into one image to create a new, layered story or concept. It’s like assembling a collage, where different pictures are placed together to show different perspectives or ideas in a single frame. This technique can mix elements of time, place, or even reality, allowing the photographer to convey a message or create a more complex visual narrative. It’s a creative way to blend different moments or subjects into one cohesive and often artistic image.

Own edits in style:

Studio Portraiture

Studio Lighting Moodboard:

What is studio lighting and why do we use it?

Studio lighting is about using artificial lights in a controlled space, like a photography studio, to light up a subject in a way that looks good on camera. The main goal is to create the right mood, highlight details, and make sure the subject is well-lit. The key light is the main light that shines on the subject, usually placed at an angle to create depth and highlight features. A fill light is used to soften the shadows created by the key light, while a back light is placed behind the subject to help separate them from the background and make them stand out.

1-Point Lighting:

This is the simplest setup, using a single light source to illuminate the subject. It’s typically placed in front of the subject, usually slightly off to the side to create some shadows and depth. It’s great for creating dramatic, high-contrast images where the subject has strong shadows. However, it can make the image look flat or harsh, so it’s often used for more moody, artistic shots or when you want a very minimalist look.

2-Point Lighting:

This setup uses two lights – typically a key light (the main light) and a fill light (to soften the shadows). The key light is placed at an angle to the subject, while the fill light is positioned opposite to lighten up the shadows created by the key light. It provides a more balanced lighting setup compared to 1-point lighting by reducing harsh shadows. It works well for general portraits, making the subject look natural and evenly lit, while still keeping some dimension.

3-Point Lighting:

This setup uses three lights: the key light, fill light, and a backlight (or rim light). The key light is the main source of light, the fill light softens shadows, and the backlight is placed behind the subject to separate them from the background, giving more depth and highlighting the subject’s outline. It solves the problem of flatness and separation from the background, making the subject look more three-dimensional. The backlight helps create depth by adding a highlight around the subject, giving them definition against the background. This is a versatile and classic lighting setup used for most professional portrait photography, video interviews, and more.

What is Rembrandt lighting, Butterfly lighting, Chiarascuro?

Rembrandt Lighting:

Rembrandt lighting is a technique where the light is placed at a 45-degree angle above and to the side of the subject’s face. This creates a small triangle of light on the cheek opposite the light, while the rest of the face is shadowed. It’s a classic, dramatic look that adds depth and highlights facial features like the cheekbones. This lighting style is often used in portrait photography for a moody, professional feel.

Butterfly Lighting:

Butterfly lighting is when the light is positioned directly above and in front of the subject’s face. This setup creates a butterfly-shaped shadow under the nose, with the rest of the face receiving soft, even light. It’s a very flattering style, making the face look smooth and symmetrical. It’s commonly used in beauty and fashion photography, especially for subjects with high cheekbones.

Chiaroscuro:

Chiaroscuro is an artistic technique that uses strong contrasts between light and dark to create depth and drama. The light is usually focused on one part of the subject, while the rest is in shadow. This technique originated in painting but is also used in photography to create a dramatic, almost theatrical look. The emphasis is on depth, with light and shadow working together to highlight the subject’s form.

What is fill lighting?

Fill lighting is a type of light used to soften or fill in the shadows created by the main light in a lighting setup. Its purpose is to reduce the contrast between light and dark areas on the subject, creating a more even and natural look. Fill light is typically softer and less intense than the key light, so it doesn’t overpower the main light but helps to soften the shadows and add detail to areas that would otherwise be too dark. It’s often placed opposite the key light to balance the lighting and prevent the subject from appearing too harsh or overly dramatic.

Studio portrait experiments:

Editing:

Before:

I think this is one of my best photos because it really captures the feel of chiaroscuro lighting. The way the light and shadows play off each other gives the photo a lot of depth and makes it stand out.

After:

For editing, I aimed to create a more distinctive look by incorporating chiaroscuro lighting to emphasize dramatic contrasts between light and shadow. To enhance this effect, I adjusted the texture and clarity, focusing on amplifying the fine details and sharpness. This approach added depth and dimension to the image, making the lighting contrasts more pronounced and visually striking.

Before:

This one really has that Rembrandt lighting vibe, especially with the triangle of light on the cheek. It’s just like the way rembrandt lit his subjects, with one side of the face lit up and the other in shadow, giving it a cool depth.

After:

Before:

In this photo, I used the technique of butterfly lighting, which I believe resembles the lighting effect the most. Butterfly lighting, is a portrait lighting setup that creates a distinctive shadow under the subject’s nose, resembling a butterfly shape. This look is achieved by placing the light source directly above and slightly in front of the subject, typically at a 45-degree angle.

After:

Before:

In this photo, the lighting looks like it’s using gels, which are colored filters placed over lights. This is a common trick in photography to create cool color effects. In this case, you can see the contrast between the reddish light on one side of the face and the blueish light on the other. The warm red and cool blue lights are coming from different light sources with colored gels on them, creating a sharp difference that makes the face stand out more.

After:

Artist reference:

John Rankin

John Rankin Waddell, known as Rankin, is a British photographer and director who has made a name for himself with his distinctive, often bold, style. He’s famous for his striking portraits of some of the world’s biggest celebrities, including Kate Moss, Madonna, David Bowie, and even Queen Elizabeth II. Rankin’s photography is known for its raw, edgy feel. He doesn’t just take a picture, he creates a moment that feels powerful and full of emotion. Whether he’s capturing a fashion model or a global icon, Rankin’s portraits often reveal something deeper about his subjects. He’s not afraid to push boundaries, using intense lighting and dramatic angles to create images that feel fresh and unexpected.

In this image, you can see how the hand reaching toward the camera helps create a sense of depth. The hand in the front is big and draws your attention, making it feel like it’s right there in front of you. This makes the rest of the scene, like the person and the background, seem farther away. The way the hand is positioned gives the photo a sense of space. It feels like there’s more to the scene than just a flat image. The hand being close to the camera creates a kind of depth, while the person and the background fade into the distance.

My edits relating to the artist:

Before:

After:

Final images:

Environmental Portraiture

Mood-Board, Mind-map of ideas:

Definition and introduction:

An environmental portrait is a photo of someone taken in their own space, like their home, office, or any place that’s meaningful to them. Unlike a traditional portrait where the focus is just on the person, in an environmental portrait, the surroundings are just as important. The place they’re in helps tell us something about who they are. The environment can reveal a lot about the person’s personality. For example, if someone is photographed surrounded by books, it might suggest they’re into reading or have an intellectual side. If they’re in a studio with art supplies, we might guess they’re creative. The space can show us what they care about or what they’re passionate about. It adds depth to the person’s identity, turning the portrait into a more complete picture of who they are.

Compare and contrast to artist reference:

Arnold Newman

Arnold Newman (1918–2006) was a famous American photographer known for his portraits that told a bigger story about his subjects. Instead of just snapping a regular headshot, Newman’s portraits often included the subject’s surroundings places or objects that reflected who they were and what they did. This style became known as environmental portraiture. Newman started out in New York and studied photography at the University of Miami. He worked in commercial photography early on but soon developed his own artistic style. Rather than taking posed, studio photos, he preferred to shoot people in the places that defined them, like artists in their studios or musicians with their instruments. Some of his most famous photos include a shot of composer Igor Stravinsky at the piano and an image of Alfried Krupp. Newman’s portraits helped show not just what someone looked like, but who they were and what they cared about.

Visual:

The photo of Alfred Krupp, taken by Arnold Newman, puts him right at the center of the frame, making him the clear focal point. The concrete pillars in the background add to the cold, industrial vibe, giving the whole scene a harsh, almost intimidating feel. Krupp is leaning slightly forward, his hands clasped under his chin, and he’s making direct eye contact with the camera. His posture and gaze suggest confidence, but there’s also something sinister about it. The industrial backdrop makes it look like Krupp is in charge of everything around him, adding to his sense of power. The lines in the photo, especially those at the top, draw the viewer’s eyes directly to his face, which adds to the feeling that he’s the center of everything. The balance of light and dark in the image also plays a big role. The light at the top of the photo contrasts with the darker bottom, creating a sense of tension and drama. This contrast exaggerates the eerie feeling, making Krupp seem even more menacing. His elevated position in the frame makes him appear in control, almost as if he’s towering over the scene.

Technical:

Technically, the lighting in the photo seems to be artificial, casting sharp shadows across Krupp’s face and deepening the intensity of his gaze. The sharp focus on Krupp’s face suggests a medium aperture, which keeps him in clear focus while the background is a bit softer but still recognizable. The fast shutter speed used helps keep everything crisp, with no blur in the image, and it helps maintain a balanced exposure. The camera is at eye level with Krupp, which makes the viewer feel like they’re sitting right across from him. This angle not only draws us in but also makes the photo feel more confrontational and unsettling.

Contextual:

As for the context, Alfred Krupp was a German industrialist who ran factories that produced weapons for Nazi Germany during World War II. His factories relied on forced labor, including prisoners of war, many of were Jewish. These workers were often worked to death in brutal conditions, making Krupp a figure of hate. Arnold Newman, who was Jewish, didn’t want to take the photo at first but eventually agreed. During the shoot, Newman asked Krupp to lean forward a little, and when Krupp did, he clasped his hands under his chin. The way the light hit Krupp’s face in that moment was striking, and Newman said he got a chill down his spine when he saw it. That moment led to one of Newman’s most famous photos.

Conceptual:

When Krupp saw the photo, he was reportedly furious. For Newman, though, this was a bit of sweet revenge. The photo captured Krupp in a way that was both sincere and menacing, showing a side of him that was both powerful and unsettling. As the image circulated, it forced Krupp into the public eye, pulling him out of the shadows and exposing his true nature. For Newman, it was more than just a portrait, it was a way to share his own deep hatred for Krupp with the world, using the photograph as a tool to show the man’s cruelty and dark legacy.

August Sander

August Sander was a German photographer known for his groundbreaking portraits that captured the different people in German society during the early 20th century. He’s considered one of the most important portrait photographers of his time. Sander’s work aimed to document the variety of social classes, professions, and lifestyles in Germany, especially during the period between the World Wars. His most famous project, Antlitz der Zeit (Face of Our Time), was a collection of portraits of people from all walks of life, from farmers and factory workers to scientists and artists. Rather than just taking a photo, Sander tried to reveal something deeper about each person, showing who they were in their society and what their role in it was. His approach was direct and respectful, aiming to capture the personality and dignity of each subject.

Subject:

The photo shows an elderly man using two walking sticks, standing in the foreground. He seems to have paused while walking up the lane in the background. You can tell he’s old by his bent posture and white facial hair. The man appears to have been walking along the road and stopped to face the camera. He’s positioned to the right of the frame, looking toward the center and into the empty space on the left. This draws your eye to the building in the background, suggesting that he’s heading there. His neutral expression makes it feel like a natural moment, as if he’s just going about his day, not posing for the camera.

Sander’s photographic style helps us connect with the people he captures. The subjects’ direct eye contact with the camera draws us in without being forced or overwhelming. They seem natural and at ease, going about their everyday lives in familiar surroundings. His photos feel like a celebration of ordinary people, giving us a glimpse into who they are and inviting us to appreciate their essence.

The environment:

The house in the background looks like a classic Tudor style, with white stucco walls and decorative half-timbering, or a mix of dark brick and stone. This traditional building adds to the feeling of a cozy, simple setting where the subject likely lives.

Visual:

This photograph, like all of Sander’s work, is in black and white. While this was due to the limitations of cameras at the time, the monochrome style actually strengthens Sander’s typographical approach, giving all his photos a unified feel. The lack of color also brings out the tonal contrasts in the image. For example, the dark shrubbery on the right contrasts with the lighter pathway on the left, guiding your eye towards the house in the background. The rough, natural texture of both the shrubs and the path suggests this is a rural setting.

Leading Lines:

The main leading line directs your gaze from the bottom right corner, up to the subject, and then towards the house. Additionally, the angle of the walking sticks guides your eye straight to the subject’s face.

Balance:

The line formed by the shrubs in the background cuts through the photo, splitting it into two halves. The bottom half features the pathway, which is more open and empty, creating a contrast with the heavier details in the top half of the image.

Composition:

Upon closer inspection, it seems Sander has applied the rule of thirds in this composition. The subject is positioned at the intersection of the right third, while the house is placed within the top left third. The subject takes up two-thirds of the frame, making it the main focus of the image.

Angle: ​

The photo is taken from an eye-level perspective, which helps establish a sense of equality and connection between the subject and the viewer. By aligning the camera with the subject’s eye level, Sander creates a more personal, direct interaction. This perspective allows the viewer to engage with the subject in a way that feels natural, as if we are standing right there with them.

Technical:

The photo uses natural lighting, which adds to its authentic, unposed feel. The exposure is well-balanced, without any formal experimentation, allowing the scene to appear straightforward and true to life. The large aperture creates a shallow depth of field, focusing our attention on the subject in the foreground while softly blurring the background.

Context:

This photograph is part of Sander’s book Face of Our Time, first published in 1929 with a foreword by German writer Alfred Döblin. When it was first released, the book was advertised as follows: “The sixty portraits of twentieth-century Germans featured in Face of Our Time represent just a small selection from August Sander’s larger body of work, which he began in 1910 and spent two decades developing and refining. Sander did not approach this monumental project from an academic or scientific perspective, nor did he seek guidance from racial theorists or social researchers. Instead, he drew on his own direct observations of human nature, appearances, and the environment, guided by an instinct for what is authentic and essential.”

Conceptual:

The book is titled Face of Our Time, not Faces, which suggests that, together, these individuals form a single collective identity. It could be interpreted that Sander’s concept was to unite these people as a representation of his era. There is no underlying theory driving the work, just a straightforward examination of the period, capturing it in its purest form on the “face” of it.

Photoshoot Plan:

Mind map:

Action plan:

Photoshoot:

Photos inside of school:

These are the photos i have taken inside of school, in which I have colour coordinated them in terms of how good I think they are as a photo in general. With green being good, yellow being decent and red being bad. The green colours also signify that they are ready to be editing. The yellow colours could signify what I should improve on in the photo to make it good/green.

Editing photos of inside school:

For this edit, I changed the colour to black and white to more relate to August Sander’s work and how most of his work is in black and white as well. After this, I experimented with the tone and presence sliders in which enabled me to tweak the photo to completely how i would want it. I then cropped it to then make the subjects more of the focus in the photo, getting rid of any negative space in the process.

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Contact sheet inside school:

Photos outside of school:

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Contact sheet outside of school: