Arnold Newman (born in 1918 – 2006) was a American photographer who was most famous for his environmental portraits. For his portraits he made sure he used a carefully framed and well lit setting while also making sure its contents were also visible, this helps symbolize the individuals life and work in the photograph. One of his famous portraits was one taken of a man named Alfred Krupp and he was originally commissioned by Newsweek to take the portrait but he refused at first, This is due to their backgrounds as Arnold Newman is Jewish and Alfred Krupp was a convicted Nazi war criminal. Eventually Arnold Newman agreed to take the portrait as he saw the assignment as some sort of personal revenge. This portrait would then later become one of the most controversial images taken at its time.

Technical

Lighting – The photo is positioned in a way where most of the light from the image is at the top while it gets darker between the bottom of the image. The subject is also illuminated to make him the main focus which can make him look more sinister.

Aperture – The photo looks like it was taken with a wide angle lens as we are able to view a great amount of detail in the image, it also uses a low aperture which gives us a large depth of field as we are able to view most things in the images clearly and with ease and it also doesn’t appear blurry.

Shutter speed – The photo looks a bit over exposed as we can notice from the light towards the back which makes things near the light appear slightly blurry.

ISO – The photo does not appear to look very grainy so I assume that a low ISO was used.

White Balance – The picture uses quite warm colours especially on the pillars and the subject.

Visual

The image features a few colours but mainly sticks to using warm colours. The tone of the image is both light and dark, we can see this with the subject where he is illuminated with light which creates some dark shadows at the bottom of the image. We can also see that the subject takes up half of the image and has his fingers interlinked while resting his chin on top and leaning towards the camera and this being done helps create some mystery and uneasy feelings towards the subject which makes us wonder who he is and what he does in his life. We can see a pattern in the background with the pillars which are placed symmetrically with one on the left side and one on the right side which helps us direct our attention to the middle which is the subject.

Contextual

This image is supposed to represent the horrors that were happening in WW2 specifically the time period were Nazis were using Jewish people as slaves. This is easy to see as we can see that the setting appears to be in an industrial building which resembles closely to a train station, the pose and positioning of the subject also makes us uneasy and makes him look sinister to represent the Nazis at the time who were in charge of trafficking the slaves and what to do with them. The subject named Alfred Krupp was actually a convicted Nazi war criminal which makes the photo even more connected to the setting and what it is supposed to represent.

Conceptual

The concept of this image is to show the public the tragedy of the loss of millions of Jewish people during WW2 and how horrible their conditions were, By using a convicted Nazi as the subject of the photo it helped layout the true meaning of the photo and what it really presents. Arnold Newman was said to be furious when he saw this image and this photo allowed Newman to share his hatred towards Krupp with the world.

Environmental portraiture are pictures taken of the subject in their usual environment, for example a person whose skill and job is baking would have a picture taken of them at the bakery or a person who does boxing for a hobby would have a picture taken of them doing boxing at their training session. These images without explaining anything can help us determine the life’s that these people live and can reveal the type of person they are by what they do in their life. This makes Environmental portraits interesting as it gives the image a meaning and a story behind it which makes these images standout compared to other styles of images.

I chose these as my final images because these are the best edited photos out of all of my possible photos and they showed the most seminaries to August Sander. and how in each photos she is looking within the camera.

with those I used artsteps to visualise what it would look like in a gallery and to see that those 4 photos go well together

Who was he?

August Sander was a German portrait and documentary photographer. His first book Face of our Time was published in 1929. Sander has been described as “the most important German portrait photographer of the early twentieth century”.

People of the Twentieth Century

He began his decades-long project People of the Twentieth Century. Though Sander never completed this exceptionally ambitious project, it includes over 600 photographs divided into seven volumes and nearly 50 portfolios. The seven volumes Sander used as his organizing principles were The Farmer, The Skilled Tradesman, The Woman, Classes and Professions, The Artists, The City, and The Last People.

The photographs from this project are mostly black-and-white portraits of Germans from various social and economic backgrounds: aristocrats and gypsies, farmers and architects, bohemians and nuns. The portraits often include familiar signifiers (a farmer with his scythe, a pastry cook in a bakery with a large mixing bowl, a painter with his brushes and canvas, musicians with their instruments, and even a “showman” with his accordion and performing bear), but sometimes the visual clues to a subject’s “type” are not so obvious, leaving the title of the work and its placement in one of Sander’s categories to illuminate the subject’s role. The titles Sander assigned to his photographs do not reveal names, and capture one of the project’s many contradictions: Each photograph is a portrait of an individual, and at the same time an image of a type. Several subjects even reappear in different roles, which reveals an inherent flexibility that persists throughout the project.

Typologies

A photographic typology is a single photograph or more commonly a body of photographic work, that shares a high level of consistency. This consistency is usually found within the subjects, environment, photographic process, and presentation or direction of the subject and visually explores a theme or subject to draw out similarities and differences for examination.

Typology is a type of photograph which had its ultimate roots in August Sander’s series of portraits in 1929, titled “Face Of Our Time”. The term ‘Typology’ was first used to describe a style of photography when Bernd and Hilla Becher began documenting old and broken down German industrial architecture in 1959.

August Sander’s typologies

Bernhard and Hilla Becher’s typologies

The artists’ most immediately recognizable work, the typologies group several photographs of a single category of industrial structure, such as cooling towers or blast furnaces. Presented together in a grid, subtle variations emerge among these homogeneous structures.

August Sander biography:

Sander has been described as “the most important German portrait photographer of the early twentieth century”. His work includes landscape, nature, architecture, and street photography. however, he is best known for his portraits and his series ‘People of the 20th Century.’

The environmental factor of August Sander’s portrait meant that the subjects in his photos would always be surrounded by the environmental they work in, in the background of the full-body shot, so their occupation was clear to the viewers.

His photographs:

After photographing local farmers near Cologne, he was inspired to produce a series of portraits of German people of different lives. He was committed to ‘telling the truth’. His portraits were usually photographed straight on in natural light, with facts of the sitters’ class and profession alluded to through clothing, gesture, and backdrop. At the Cologne Art Society exhibition in 1927, Sander showed 60 photographs of “Man in the Twentieth Century,” and two years later he published ‘Face of Our Time’.

Sanders’ photographs are mostly black-and-white portraits of Germans from various social and economic backgrounds: aristocrats and gypsies, farmers and architects, bohemians and nuns. The portraits often include familiar signifiers to help the audience know who they were , but sometimes the visual clues to a subject’s “type” are not so obvious, leaving the title of the work and its placement in one of Sander’s categories to illuminate the subject’s role. Each photograph is a portrait of an individual, and at the same time an image of a type.

With this photo, you can easily see the leading lines which are the walking sticks, leading lines help direct your eyes to the main focus of the photo. in this photo there are three wealthy men standing next to each other with walking sticks and suits, this signifies that they are wealthy and posh compared to other people that August sander has photographed. the posture of the men also help to create the idea that they are smart men due to them standing up straight and not slouching. the men are also looking straight into the camera to help with the firm eye contact.

• Who is in the photo?

– August Sander – Handlanger (Bricklayer) – 1928

• how are they posed?

– formal (posed) with relaxed facial expression

• how are they framed?

– Full body

– Deadpan angle

• what is their gaze?

– Eye contact > engagement with the camera

• Colour

– Black and white

Typologies

what is a typology?

• Typology is a a term that we use in photography that, in simple terms, is the study of types. It can be used to see and represent similarities and differences in images.

This is an example of August sanders typologies.

this is my environmental portrait 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.

This is my contact sheet from all of the photos I’ve taken, with different people in their different environment, such as the canteen, offices, classrooms ect.

Final photos before and after editing.

with this photo, as I was using one of the new cameras i used the ‘P’ setting, therefore the photo didn’t come out as good as I expected. to edit this photo, I cropped round the main focus of the image which was Millie, then I made the background blurry, using the blur tool. I changed the photo to black and white and changed the contrast. I also edited the photo to make the background smaller.

With this photo, I also made the background blurry on photoshop. I made sure to keep the ‘cold drinks’ sign in the photo which helps the audience understand that she is a canteen lady.

I did the same with this photo, using the blurring tool on photoshop, to enhance the main focus. I cropped the image to get the unnecessary background out of the photo. again like the other photos I made it black and white so it would fit in with my theme of black and white photos.

My evaluation of my photos.

throughout this photoshoot, I personally took many photos up to standard however I think I could have explored with the ISO and aperture more to create better and more clear photos.

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

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

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

Contact Sheet

Photographs Before VS After

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

And these are the results that have been produced.

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

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

And these are the results that have been produced.

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

What is Environmental Portraiture

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

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

Mood Board of Environmental Portraiture

Common challenges when shooting environmental portraits

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

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

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

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

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

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

Arnold Newman Research

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

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

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

Alfred Krupp Image Analysis

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

Technical

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

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

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

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

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

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

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

Visual

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

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

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

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

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

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

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

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

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

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

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

Contextual

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

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

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

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

Conceptual

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

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

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

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

1. Outdoor environment 1 person
2. Indoor environment 1 person 
3. two or more people

• who you are photographing
• what you are photographing
• when you are conducting the shoot
• where you are working/ location
• why you are designing the shoot in this way
• how you are going to produce the images (lighting / equipment etc)

Photoshoot 1

I photographed Connie in her garden as she loves gardening so this was her natural environment. I did the photoshoot mid day so the sun was out and there was good natural light.

These were all my photos I took 90 overall and I think overall it was very successful

In this snip you can see my favourite photos as I have highlighted them in green there is quite a few of them.

These are my favourite photos up close. There are 6 of them that I really like I am going to take them into Lightroom and do a bit of editing.

In this process I am rotating my photo so the background is straight and using the rule of thirds so she is sort of walking into the photograph.

This is how the photo ended up. I think it looks much better as the stairs in the back are straight and she is walking into the photo.