Political animals
Film and Photo exhibition in Stuttgart 1929 included the European version of modernism - 'New Vision'. First thread of this was constructivism - more political motivation eg Lissitzky in Russia.
Dada also grew out of this - used chemically constructed images amd photomontage and develpoed into surrealism - eg Man Ray Electricity (1931).
Third strand from Fifo was typological approach. eg Blossfeldt' s close upsp of plants.
Two projects dominated 1920s - Atget in Paris and Sander in Germany - Man in the Twentieth Century photographing rural folk outside Cologne.Becher's based there wrok on sander.
To teach and persuade
The term documentary was coined in 1920s, photographically best seen as the Roy Stryker attempt to document the US way of rural life by the Farm Security Administration. Most famous image of collection is Lange's Migrant Mother (1932).
Germans and Russians used photography for propaganda purposes, e.g. Hans Killian's work Facies Dolorosa which captures images of sick people.
The worker photographers
Movements such as Photo League in US and Mass-Observation in UK had touch of voyeurism, and rather class based, such as Spender in Bolton.
Finding a street vocabulary
The movement owed much to the advent of the Leica, and thus what may be termed the commercial documetary era, and to Paris in particular: kertez, Brassai amnd Cartier Bresson.
Others were Ehrenburg, taking down and outs in Paris, amd Bill Brandt in London, especially well known for nocturnal images.
Tuesday 29 May 2012
Friday 25 May 2012
An active portrait
I did not strictly follow the brief for this exercise as the subject is unknown to me and the scene was unplanned.
The Olympic torch relay passed very close to our house on 22 May 2012, and I was fortunate enough to be able to take some close up images of one of the torch bearers.
This image captures the moment of the activity well - there is a sense of the responsibility and of the importance of the occasion in the bearer's expression. The people in the background are a slight distraction but in a way add to the sense of occasion; certainly the eye is taken to the bearer and his torch.
The Olympic torch relay passed very close to our house on 22 May 2012, and I was fortunate enough to be able to take some close up images of one of the torch bearers.
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| Canon EOS 450D with EF70-200mm f/4L IS USM. f16; 1/90; ISO 320 focal length 98mm |
Experimenting with Light
I took many portraits of my wife for this exercise, experimenting with both natural light (indoors and outdoors) and artificial light, using off camera Speedlite flash. I do not have access to professional equipment; to be frank, portraiture is not a subject that interests me sufficiently to invest in additional equipment. Nevertheless. it is useful practice to understand the different light sources for general use.
There were some disastrous attempts at using artificial light; thanks to digital, one can experiment with the flash at different distances and angles, with and without a diffuser.
All the images were taken using a tripod. Where flash is indicated, this is Speedlite 430EX II, used off camera (hand held) with a diffuser in these images. A degree of post processing was used using Camera Raw in Adobe Photoshop CS5; this consisted mainly of filling in shadow areas, though I have found that reducing clarity (thus increasing softness) improves portrait shots too.
This image was taken in deliberately difficult conditions, back lit from the window in my wife's study. This was a deliberate attempt in experimentation - the next image shows how light could be used more effectively in the same environment; I viewed this exercise as experimental rather than necessarily obtaining top quality images. That having been said, this works quite well; the post processing reduced the shadow contrast, and clarity was reduced to add softness. The window itself is a distraction.
The portrait is taken in the same position but this time with the natural light from the right. I asked my wife to look slightly towards the light, this reducing shadow. Limited post processing. The skin texture is very good in this image, an advantage of using diffuse natural light.
Particular difficulties photographing subjects with glasses are reflective and shadow problems. In the first two images, my wife's glasses cause no reflective or shadow problems, a leading advantage of natural light. It is very difficult to avoid either problem with artificial light, particularly a flash. Kelby (2011) provides a very clever method of fixing reflection within Photoshop but I tried to avoid the problem by positioning the flash from below.
Overall, this works reasonably well. The shadow effect from the glass frames is minimal (and could be eliminated by very careful post processing).The light from below provides a differential skin toning.
Perhaps the most challenging light was low evening light. I took many images in the natural light; the shadows were particularly difficult to handle, and my wife inevitably squinted in the brightness.
Taken at the same time and in the same location, I then experimented with fill in flash from the right, and my wife's stance changed to facing the camera.
This works better in my view - the flash has not caused any reflective or shadow problems (I used a low manual setting.
Limited post processing was used in either of the last two images.
This exercise has helped me to understand the issues caused by the available light - the experimentation was useful and challenging. The quality of the results are mixed but that is in the nature of the experimental exercise.
Reference: Kelby, Scott (2011) The Adobe photoshop CS5 book for digital photographers New Riders
There were some disastrous attempts at using artificial light; thanks to digital, one can experiment with the flash at different distances and angles, with and without a diffuser.
All the images were taken using a tripod. Where flash is indicated, this is Speedlite 430EX II, used off camera (hand held) with a diffuser in these images. A degree of post processing was used using Camera Raw in Adobe Photoshop CS5; this consisted mainly of filling in shadow areas, though I have found that reducing clarity (thus increasing softness) improves portrait shots too.
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| Canon EOS 450D with EF24-105mm f/4L IS USM. f16; 1/8; ISO 800 focal length 47mm |
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| Canon EOS 450D with EF24-105mm f/4L IS USM. f13; 1/10; ISO 800 focal length 50mm |
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| Canon EOS 450D with EF24-105mm f/4L IS USM. f4; 1/60; ISO 400 focal length 40mm |
Overall, this works reasonably well. The shadow effect from the glass frames is minimal (and could be eliminated by very careful post processing).The light from below provides a differential skin toning.
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| Canon EOS 450D with EF24-105mm f/4L IS USM. f16; 1/90; ISO 200 focal length 70mm |
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| Canon EOS 450D with EF24-105mm f/4L IS USM. f19; 1/60; ISO 320 focal length 70mm |
This works better in my view - the flash has not caused any reflective or shadow problems (I used a low manual setting.
Limited post processing was used in either of the last two images.
This exercise has helped me to understand the issues caused by the available light - the experimentation was useful and challenging. The quality of the results are mixed but that is in the nature of the experimental exercise.
Reference: Kelby, Scott (2011) The Adobe photoshop CS5 book for digital photographers New Riders
Wednesday 23 May 2012
Update 23 May - Exhibition and Selling work
Exercise work is going rather slowly - have been somewhat distracted by the seeking of what context is all bout - see the Reading blogs; also have been going to Bristol Festival of Photography and setting up my exhibition at the St James's Wine Vaults.
On Monday, my wife and I went to Bath to put up the framed work. It took 90 minutes of measuring, banging and sticking to get the frmed prints up together with the commentary. i tis not a themed exhibition - simply "the best of" designed to sell some work. Man cannot live by love of photography alone, so this is an unashend attempt to sell work. I doubt it will work, if only because the audience will be small (other groups using the space). But it has been an interesting exercise to highlight the hard work involved in trying to get remunerated for photography work.
A second string to this bow will be to set up my own website. I receive weekly an email from www.lightstalking.com. This is an eclelcic newsletter aimed at photography enthusiasts. I read it occasionally, and was taken this week with an article on where to host images online:
http://www.lightstalking.com/so-where-should-you-host-your-photographs-online?utm_source=Newsletter&utm_medium=Email%2B&utm_term=Weekly%2BEmails&utm_content=18-May-12&utm_campaign=Weekly%2BEmails.
I read the options and have decided that Zenfolio is probably best, if only because it is clearly UK compatible (Smugmug is US and Australia only). This will be another distraction from the academic work, but a necessary one in order to see if selling images is possible.
My wife and I repaired from Bath to Bedminster to view the images from the Photomarathon. Mine were a disaster, as predicted. The flash failed and several of the images are double exposed. To be honest, there was not much good stuff on show from anyone. Not sure I will do this again.
Reverting to exercises for People Aware, I need one more image to complete third exercise and have taken an image for fourth. Importantly, I have now completed a set for the Assignment. These are images of my mother originally takne for the first exercise but decided they are good enough to be usde fo rthe Assignment with a couple of additions, now taken. So, althoughthe completed work looks thin, I have done a lot of work to get prepared - should be able to write up two exercises in one go.
On Monday, my wife and I went to Bath to put up the framed work. It took 90 minutes of measuring, banging and sticking to get the frmed prints up together with the commentary. i tis not a themed exhibition - simply "the best of" designed to sell some work. Man cannot live by love of photography alone, so this is an unashend attempt to sell work. I doubt it will work, if only because the audience will be small (other groups using the space). But it has been an interesting exercise to highlight the hard work involved in trying to get remunerated for photography work.
A second string to this bow will be to set up my own website. I receive weekly an email from www.lightstalking.com. This is an eclelcic newsletter aimed at photography enthusiasts. I read it occasionally, and was taken this week with an article on where to host images online:
http://www.lightstalking.com/so-where-should-you-host-your-photographs-online?utm_source=Newsletter&utm_medium=Email%2B&utm_term=Weekly%2BEmails&utm_content=18-May-12&utm_campaign=Weekly%2BEmails.
I read the options and have decided that Zenfolio is probably best, if only because it is clearly UK compatible (Smugmug is US and Australia only). This will be another distraction from the academic work, but a necessary one in order to see if selling images is possible.
My wife and I repaired from Bath to Bedminster to view the images from the Photomarathon. Mine were a disaster, as predicted. The flash failed and several of the images are double exposed. To be honest, there was not much good stuff on show from anyone. Not sure I will do this again.
Reverting to exercises for People Aware, I need one more image to complete third exercise and have taken an image for fourth. Importantly, I have now completed a set for the Assignment. These are images of my mother originally takne for the first exercise but decided they are good enough to be usde fo rthe Assignment with a couple of additions, now taken. So, althoughthe completed work looks thin, I have done a lot of work to get prepared - should be able to write up two exercises in one go.
Context and Narrative
I bought this book in the hope of unlocking the mystery (to me) of what context means photographically.
I scored 12 out of 20 for context in TAOP - an OK mark but would have meant a great deal more had I the slightest clue what context is.
In broad terms, I guess context refers to two things:
That is fine as far as it goes but not sure how useful it is. So one turns to Context and Narrative by Maria Short, a lecturer in the subject.
The book is written clearly, avoiding pretentious language, and is practical - almost a workbook. This post covers the first two chapters: The photograph and Subject.
In the introduction, Short defines context as "...the circumstances that from the setting for an event, statement or idea. In photography the word 'context' can relate to the contents of the photograph, its placement in relation to words or other images, the publication or place in which it is viewed and the broader photographic, social, cultural, historical and geographical context".
This is somewhat less than useful - almost a tautology - "context is what it is".
1 The photograph
In chapter 1, Short covers the ground of the role and function of the photograph - from the mundane telling of the truth - the literal depiction - such as passport photographs to the broader social function of the photograph as a message, which is where context comes in. Is it this that defines a photograph as more then just a record shot? Is context the extra ingredient?
Short explains that photographs can distort the truth by
Photography may also be developed as a brief - Short discusses student, self directed and professional brief. (Not sure where this is going to be honest). Completes with a case study of Richard Rowland's work Regency House, images of men with mental and related issues.
2 The Subject
Short believes you need to be passionate about communicating 'something' as this informs every choice you make in photography.
Firstly you have to decide that a photograph is actually the best way to demonstrate the concept rather then the written word or a drawing.
Understanding the subject is a key - example is Eva Arnold's work.
The camera format will help identify the unique approach as well as technical considerations like colour or B&W.
3 Audience
Appreciate the context in which an image will be viewed. Perhaps photographer can affect the audience reaction with his 'gut instinct' and 'feel'.
The Shootback project in Kenya, where children were given a camera and told to take images of their slum homes is a good example of clear rationale
Perception-shifting communication - example is Tom Stoddart's images of southern Sudan in 1998; raised £500,000 despite Claire Short's reservations about compassion fatigue.
Technical quality is significant aspect - if not, can we say with honesty that ...."I am translating what I see in visual terms as well as possible" (David Hurn, On Being a Photographer, 1997).
Pure photographic depiction - example is Perthold's work when he attached cameras to collars of cats - great example of context.
4 Narrative
Narrative generally has beginng, middle and end. But photographic narrative can imply what has been and/or what is to happen.
As impe narrative is following a journey, such as Jose Navarro's phot documentary of the walking of 5,000 sheep 250 miles by shepherds (Trashumantes, Jose Navarro).
Add visual punctuation, such as triptychs or using particular size and shape of image.
Single image narrative involves breaking down the components of a imag. Sometimes
I scored 12 out of 20 for context in TAOP - an OK mark but would have meant a great deal more had I the slightest clue what context is.
In broad terms, I guess context refers to two things:
- the context of the subject; understanding the background, environment etc of the main source of interest in an image. By definition, one contextual characteristic - history (how did the subject end up where it did?) - can hardly be handled in a single image.
- The context of the photographer - his or her values and judgements, their slant on the subject, their prejudices; all manifested by the choice of the subject, its setting, lighting etc.
That is fine as far as it goes but not sure how useful it is. So one turns to Context and Narrative by Maria Short, a lecturer in the subject.
The book is written clearly, avoiding pretentious language, and is practical - almost a workbook. This post covers the first two chapters: The photograph and Subject.
In the introduction, Short defines context as "...the circumstances that from the setting for an event, statement or idea. In photography the word 'context' can relate to the contents of the photograph, its placement in relation to words or other images, the publication or place in which it is viewed and the broader photographic, social, cultural, historical and geographical context".
This is somewhat less than useful - almost a tautology - "context is what it is".
1 The photograph
In chapter 1, Short covers the ground of the role and function of the photograph - from the mundane telling of the truth - the literal depiction - such as passport photographs to the broader social function of the photograph as a message, which is where context comes in. Is it this that defines a photograph as more then just a record shot? Is context the extra ingredient?
Short explains that photographs can distort the truth by
- allowing the photographer's intention to portray the subject in a chosen way;
- a literal perspective: including or excluding relevant factors, the composition/timing;
- intention - arranging an expression;
- technical approach - format of the image;
- the value that the audience attributes to the photograph.
Photography may also be developed as a brief - Short discusses student, self directed and professional brief. (Not sure where this is going to be honest). Completes with a case study of Richard Rowland's work Regency House, images of men with mental and related issues.
2 The Subject
Short believes you need to be passionate about communicating 'something' as this informs every choice you make in photography.
Firstly you have to decide that a photograph is actually the best way to demonstrate the concept rather then the written word or a drawing.
Understanding the subject is a key - example is Eva Arnold's work.
The camera format will help identify the unique approach as well as technical considerations like colour or B&W.
3 Audience
Appreciate the context in which an image will be viewed. Perhaps photographer can affect the audience reaction with his 'gut instinct' and 'feel'.
The Shootback project in Kenya, where children were given a camera and told to take images of their slum homes is a good example of clear rationale
Perception-shifting communication - example is Tom Stoddart's images of southern Sudan in 1998; raised £500,000 despite Claire Short's reservations about compassion fatigue.
Technical quality is significant aspect - if not, can we say with honesty that ...."I am translating what I see in visual terms as well as possible" (David Hurn, On Being a Photographer, 1997).
Pure photographic depiction - example is Perthold's work when he attached cameras to collars of cats - great example of context.
4 Narrative
Narrative generally has beginng, middle and end. But photographic narrative can imply what has been and/or what is to happen.
As impe narrative is following a journey, such as Jose Navarro's phot documentary of the walking of 5,000 sheep 250 miles by shepherds (Trashumantes, Jose Navarro).
Add visual punctuation, such as triptychs or using particular size and shape of image.
Single image narrative involves breaking down the components of a imag. Sometimes
Friday 18 May 2012
Update 18 May - RGB Awards Finalists Exhibition
Today, I visited the RGB Awards Finalists Exhibition in The Brant Bradly Gallery in Bedminster, Bristol.
The entries were a mixed bag and some were very average in my view but three images very relevant to this course came to my attention:
Best documentary is series of portraits by Luke Thornton
of Colin Thornton, a man dying of pancreatic cancer. The Hospital, the first
image taken when Colin was diagnosed is especially strong (the images were downloaded form his website):
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| Thornton L. (2011) The Hospital [online image]. Private collection. Available from http://www.lukethorntonphotography.co.uk/index.php?/projects/the-last-two-months/ [Accessed 18 May 2012] |
I like the expression - it loses nothing, indeed gains, from the context in the hospital bed, and including the buried head of the woman - the mixed emotions of a man who has been diagnosed with a terminal illness yet comforting the woman is captured perfectly.
I like this close up too:
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| Thornton L. (2011) The Bath [online image]. Private collection. Available from http://www.lukethorntonphotography.co.uk/index.php?/projects/the-last-two-months/ [Accessed 18 May 2012] |
The feeling of "what am I doing here? Is it all worth it?" comes through strongly - a powerful image.
The overall winner is The Third Woman by Gareth Iwan Jones, a stunning 40s style portrait. Possibly the light is not quite right but the expression is perfect:
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| Jones, G I. (2012) The Third Woman, 2012 [photograph] RGB exhibition. Bristol: The Grant Bradley Gallery. 4 - 31 May |
The winner of the landscape prize is this image:
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| Leonardi, P. (2012) [photograph] RGB exhibition. Bristol: The Grant Bradley Gallery. 4 - 31 May |
At first, this did little for me - recognisably part of the Zeitgeist of minimalist landscape images rather in the mould of Andreas Gusrsky's Der Rhein II (the world's most expensive photograph) but after looking at again, it is growing on me.
I also liked the landscapes from Colin Powell. Minimalist black and whites.
Tuesday 15 May 2012
Thinking about location
I visited the Zed Nelson exhibition entitled Hackney - A Tale of Two Cities at the Philadelphia gallery as part of the Bristol Festival of Photography to get some ideas. As the title suggests, Nelson's images are all about the contrasts between the underclass and the upwardly mobile in Hackney with many in between; consequently an element of background is essential to provide context to the image.
Two of his images demonstrate this:
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| Nelson Z (2012) untitled, year unknown, Hackney - A Tale of Two Cities. Bristol: The Philadelphia Gallery 3-17 May |
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| Nelson Z (2012) untitled, year unknown, Hackney - A Tale of Two Cities. Bristol: The Philadelphia Gallery 3-17 May |
I selected three outdoor and three indoor locations, as follows:
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| Olympus point and shoot. f3.5; 1/30; ISO 100 focal length 28mm |
The Bristol-Bath cycle path is a favourite photographic location for images for me, not least because use it three times a week to commute to work. It was this thought that prompted this image taken with a point and shoot camera - an ideal complementing location for a lycra clad cyclist, with the cycle path itself in shot on the right. Once a torso fills the front of the seat, we will have a setting with reasonably consistent tone and features yet no distractions.
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| Canon EOS 450D with EF24-105mm f/4L IS USM. f4; 1/60; ISO 800 focal length 40mm |
This staircase suggested to me as an ideal for a black and white whole body portrait. The back lighting is potentially a problem but it is not directly behind the subject so could be used effectively. The location suggests a softness of texture and is certainly consistent in tone.
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| Canon EOS 450D with EF24-105mm f/4L IS USM. f5.6; 1/750; ISO 200 focal length 24mm |
Perro Bridge in the heart of Bristol docklands is an ideal location for a portrait. The background is retained as a feature but not the main subject (as with the gas holder in Nelson's image above). The structure of the horn forms a natural border to the left of the image. I would see this as a contrasting background.
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| Canon EOS 450D with EF24-105mm f/4L IS USM. f13; 1/60; ISO 800 focal length 40mm |
his disused railway carriage on Bristol's dockside was ideal for a location for a full body shot on the open platform. The slightly less than immaculate background needed a "railway subject", who by chance emerged as we shall see.
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| Canon EOS 450D with EF24-105mm f/5.6L IS USM. f13; 4 sec; ISO 800 focal length 24m |
The choristers' pews at Bristol Cathedral suggested themselves as a location. There is a softness about the wooden structure; possibly the ornate structure and the lights are a slight distraction, leading the eye to the left but for a sideways image, I think this might work, although probably requires the subject to sit well forward.
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| Olympus point and shoot. f3.5; 1/30; ISO 100 focal length 28mm |
This is my desk at work, ideal for a contextual shot. There is clutter but some of that would be hidden by the subject, and the papers and computer on the desk are an important feature, adding context to the shot.
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| Canon EOS 450D with EF24-105mm f/4L IS USM. f13; 1/90; ISO 800 focal length 35mm |
The railway wagon was selected for the location with a subject. I had in mind just such a subject when taking the location and this gentleman (unknown to me) agreed to be my subject. I like the slightly leaning forward pose with right hand on pillar and right foot in front, making this seem like a purposeful action portrait. The context is perfect; the Hi Viz jacket does catch the eye at the expense of the subject's face, but I view that as very much part of the portrait - it is his uniform.
A useful exercise that made me realise the potential for contextual portraits, but also the hazards of including too much distracting background.
Monday 7 May 2012
Genius of Photography 1 Empire of Photography
Decided to read book as watched the videos when doing TAOP. I is a book loosely following the history of photography, but thematic - e.g. the early debate about photography as art or science.
Like quote from Szarkowski that photogpraphs are windows when the subject is of prime importance, and mirrors when the main point is to reflect the photogpraher's viewpoint. Most images are of course both.
PRELUDE
Discusses the Meudon image by Kertesz - what is the subject? Was it posed or a 'decisive moment'?
EMPIRE OF PHOTOGRAPHY
Art or Science?
An argument that commenced almost as soon as the medium was invented - contrast between the clarity of detail in daguerrotypes and the more diffuse paper-based calotypes.
Fox Talbot: "The instrument chronicles whatever it sees and certainly would delineate a chimney pot or chimney sweeper with the same impartiality as it would the Apollo of Belvedere". In other words, photography was too democratic, too indiscriminate for some in 19th century.
Scott Archer introduced the glass negative process, this cheapening and further democratising the process. Disderi introduced the concept of small photographs on one plate thus bringing about the carte de visite portrait used as a calling card for the lower middle classes.
Witness to the World
Photography rapidly became a recording mechanism in the British and french empires, and of course for war, American Civil War, and Fenton's images of Crimean War, notably Valley of the Shadow of Death. It was photography as illustration.
Flight from realism
Some believed that it was necessary for photography to ape art by being modified - even taking out of focus (Sir William Newton). Two Ways of Life by Rejlander was probably the most vivid demonstration of the attempt ot take photography into realm of high art.
Bodies in motion/the snapshooters
Muybridge's sequences and ultimately his proof that horse do indeed have all four legs in the air for a fraction of a second were very much scientific studies. Eastman's Kodak democratized the medium even more - you press the button, we do the rest. Kodak changed the medium socially and caused more scorn to be heaped on photography as Sarkowski said: "It was a common article of faith that art was hard and and artists rare; if photography was easy and everyone was a photographer, photography could hardly be taken as seriously as an art."
Picasso:"Every dentist would like to be a doctor, and every photographer would like to be a painter."
Stieglitz introduced modernism - crossed from pictorialism to modernism with his images such as The Steerage. In same vein was Strand (Blind Woman) and Hine with his socio documentary portraits of child workers. It was 'straight photography' - no tampering.
Ultimate modernist photograph was Pepper no30 by Weston.
Like quote from Szarkowski that photogpraphs are windows when the subject is of prime importance, and mirrors when the main point is to reflect the photogpraher's viewpoint. Most images are of course both.
PRELUDE
Discusses the Meudon image by Kertesz - what is the subject? Was it posed or a 'decisive moment'?
EMPIRE OF PHOTOGRAPHY
Art or Science?
An argument that commenced almost as soon as the medium was invented - contrast between the clarity of detail in daguerrotypes and the more diffuse paper-based calotypes.
Fox Talbot: "The instrument chronicles whatever it sees and certainly would delineate a chimney pot or chimney sweeper with the same impartiality as it would the Apollo of Belvedere". In other words, photography was too democratic, too indiscriminate for some in 19th century.
Scott Archer introduced the glass negative process, this cheapening and further democratising the process. Disderi introduced the concept of small photographs on one plate thus bringing about the carte de visite portrait used as a calling card for the lower middle classes.
Witness to the World
Photography rapidly became a recording mechanism in the British and french empires, and of course for war, American Civil War, and Fenton's images of Crimean War, notably Valley of the Shadow of Death. It was photography as illustration.
Flight from realism
Some believed that it was necessary for photography to ape art by being modified - even taking out of focus (Sir William Newton). Two Ways of Life by Rejlander was probably the most vivid demonstration of the attempt ot take photography into realm of high art.
Bodies in motion/the snapshooters
Muybridge's sequences and ultimately his proof that horse do indeed have all four legs in the air for a fraction of a second were very much scientific studies. Eastman's Kodak democratized the medium even more - you press the button, we do the rest. Kodak changed the medium socially and caused more scorn to be heaped on photography as Sarkowski said: "It was a common article of faith that art was hard and and artists rare; if photography was easy and everyone was a photographer, photography could hardly be taken as seriously as an art."
Picasso:"Every dentist would like to be a doctor, and every photographer would like to be a painter."
Stieglitz introduced modernism - crossed from pictorialism to modernism with his images such as The Steerage. In same vein was Strand (Blind Woman) and Hine with his socio documentary portraits of child workers. It was 'straight photography' - no tampering.
Ultimate modernist photograph was Pepper no30 by Weston.
Sunday 6 May 2012
Portrait - scale and setting
The first exercise is to take portraits so as to appreciate the composition and weight of attention on the face of the subject.
I selected the carer for my 85 year old mother as a subject. She lives in my mother's flat providing 24/7 care. I thought a working location would work for these images.
The natural light in the flat was insufficient for some of these images - I had flash and additional lighting and required for the last two images; I did use a tripod. I boosted ISO to 800 as experience suggests immaterial noise is added at this level, and it helped to increase shutter speed a couple of stops.
Although I have started looking at others' work I cannot say there was anything in particular that promoted the subject choice or the particular shots. I considered I knew the subject for this, and the individual shots suggested themselves. Knowing my mother, I wanted to get not only some different compositions but also some different emotions reflected in her expressions.
I took heed of the warning in the notes that a wide angle lens can exaggerate perspective, and tried to avoid this. Maintained constant aperture at 5.6, designed to make most of the subject in focus.
This first image, face cropped in close, is probably the most successful, the exposure working reasonably well and her eyes standing out. I think the viewer will be taken with the neutral expression.
Again the face is the dominant feature of the image. There is the background slightly out of focus but the viewer's attention is drawn to the face.
This image does not work well technically. Used a flash positioned at around knee level looking upwards with consequent shadow.
Passing on the technical failings, we can see here on the torso shot that the viewer's eye moves around - the face will still receive viewer's attention but the context comes to the fore here with her wet hands near the washing up bowl.
Slight technical issues with shadow caused by the flash behind the subject's legs.
In this full figure image the viewer is fully aware of the context of the subject and gets a sound feel of the context, even to the extent of having movement blur on the right hand caused by the cleaning of the saucepan.
A satisfying exercise that has helped me to understand how different elements in the shot of the subject can be engaged and interact with one another as the shot becomes wider - the face shots say much about expression, about feeling, the wider shots add some context, some wider conditions. On a slightly negative point, it also brought home the need to be more careful with lighting.
I selected the carer for my 85 year old mother as a subject. She lives in my mother's flat providing 24/7 care. I thought a working location would work for these images.
The natural light in the flat was insufficient for some of these images - I had flash and additional lighting and required for the last two images; I did use a tripod. I boosted ISO to 800 as experience suggests immaterial noise is added at this level, and it helped to increase shutter speed a couple of stops.
Although I have started looking at others' work I cannot say there was anything in particular that promoted the subject choice or the particular shots. I considered I knew the subject for this, and the individual shots suggested themselves. Knowing my mother, I wanted to get not only some different compositions but also some different emotions reflected in her expressions.
I took heed of the warning in the notes that a wide angle lens can exaggerate perspective, and tried to avoid this. Maintained constant aperture at 5.6, designed to make most of the subject in focus.
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| Canon EOS 450D with EF24-105mm f/4L IS USM. f5.6; 1/90; ISO 800 focal length 105mm |
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| Canon EOS 450D with EF24-105mm f/4L IS USM. f5.6; 1/45; ISO 800 focal length 58mm |
Again the face is the dominant feature of the image. There is the background slightly out of focus but the viewer's attention is drawn to the face.
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| Canon EOS 450D with EF24-105mm f/4L IS USM. f5.6; 1/60; ISO 800 focal length 32mm |
Passing on the technical failings, we can see here on the torso shot that the viewer's eye moves around - the face will still receive viewer's attention but the context comes to the fore here with her wet hands near the washing up bowl.
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| Canon EOS 450D with EF24-105mm f/4L IS USM. f5.6; 1/45; ISO 800 focal length 24mm |
In this full figure image the viewer is fully aware of the context of the subject and gets a sound feel of the context, even to the extent of having movement blur on the right hand caused by the cleaning of the saucepan.
Saturday 5 May 2012
Photographers viewed for People Aware
Steven Wood-Matthews (2012) http://www.100photographs.co.uk/the-gallery/ has several interesting portraits - particularly like well lit image of woman doing make up - implied line to mirror off shot. Also contextual image of girl against a wall. Dressed provocatively her expression off camera tells a lot. It is strong image.
Bristol photo marathon 4 May 2012
Via OCA, realised it is Bristol Photography Festival this month and the Photo Marathon is today.
Collected instant camera from M Shed, then set about taking 20 images as follows:
1 Entry number
2 Earth - took picture of flower bed with bluebell in background - got v low
3 Past Memories - close up of BCS students in 1920s
4 City Colours - taxi number plate on blue background
5 Water - fountain (unimaginative)
6 The Here and Now - plaque on a Euro 2012 roadshow that said "follow us on Twitter, Facebook and YouTube" with appropriate logos
7 Air - close up of a flortist blowing
8 Green Fingers- an artificial cactus
9 Future Plans - a sign depicting that passport photos and visa IDs done inside
10 - Fire - wok in Flavourz
11-20 Theme Step by Step. 10 pictures taken in BCCS following history of school, included some subtle imagery such as the loo sign that shows male and female (BCCS was all boys school).
All had to be done by 5pm - in practice from 1pm for us as had meeting first. Sue helped out.
Would have been great had the camera worked properly, ie the flash fired. Never mind, was useful to think quickly and find subjects in a small area, necessitated by lack of time and we both had aching backs.
Collected instant camera from M Shed, then set about taking 20 images as follows:
1 Entry number
2 Earth - took picture of flower bed with bluebell in background - got v low
3 Past Memories - close up of BCS students in 1920s
4 City Colours - taxi number plate on blue background
5 Water - fountain (unimaginative)
6 The Here and Now - plaque on a Euro 2012 roadshow that said "follow us on Twitter, Facebook and YouTube" with appropriate logos
7 Air - close up of a flortist blowing
8 Green Fingers- an artificial cactus
9 Future Plans - a sign depicting that passport photos and visa IDs done inside
10 - Fire - wok in Flavourz
11-20 Theme Step by Step. 10 pictures taken in BCCS following history of school, included some subtle imagery such as the loo sign that shows male and female (BCCS was all boys school).
All had to be done by 5pm - in practice from 1pm for us as had meeting first. Sue helped out.
Would have been great had the camera worked properly, ie the flash fired. Never mind, was useful to think quickly and find subjects in a small area, necessitated by lack of time and we both had aching backs.
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