Wednesday, 28 October 2015

Camera set up


Equipment:
  • Canon 550D, tripod, sync lead, beauty lens, reflector boards, SD card, hot shoe adaptor
Camera settings:
  • Manual mode
  • Shutter speed: 1/100
  • ISO: 100 (higher brightness = lower quality)
  • Autofocus (on lens)
  • Camera sideways for portrait images
  • Shooting straight on - camera at face level
  • Sync lead connects camera to lights (through hot shoe adaptor) to trigger flash at the same time as photo is taken
  • Beauty lens = much more zoomed in (for face/head and shoulders)
  • Reflector boards - silver side is more reflective than white side; used to reduce shadows e.g. underneath jawline; should be held by assistant to avoid the model looking tense, collarbones protruding, etc.

Further lighting experiments

F3.2 - front person out of focus
F4 - back person out of focus


Reflecting light from behind model off white wall behind camera


Lowered aperture (4 - 6.3) - Clearer image, less faded


Brightened flash -  hair becomes less visible


Removed white reflector behind camera - darkens face


Black background, side lit


Lowered aperture (6.3 - 8) - more flattering, less washed out


Lowered aperture (8 - 14) - much darker, more moody


Raised aperture (14 - 10) 


White background, side lit
Lowered aperture (8 - 10)
Different model - less flattering on skin tone and colours for this model


Facing away from light


Light directly behind model


Attempt at 'cat eye' effect; two box lights, reflector underneath


Increase flash - well lit everywhere, minimal shadows


Lit from directly above, reflector underneath


Increase flash
Increase aperture


Lower aperture
  • 500D - less flattering for skin than 550D
  • Studio was difficult to set lights up at various angles
I enjoyed playing around with more lighting styles and angles, and also learning about aperture, rather than just 'warm,' soft' or 'sharp' lighting. I liked the photos where the depth of field made the background out of focus. Bouncing light off a white wall behind the camera created a very nice effect where the sides of the face were almost glowing and the features were crisp, however having the flash too bright began to fade the outline of the model into the background, and having the aperture too high made the image far too bright. I like the effect created when the white reflector behind the camera was removed, as I felt it created more mood and atmosphere, warming the face in gentle shadow. However the face was less crisp and the colours more blended; something that perhaps could be altered after taking the photo. I liked using the black background because, again,  I felt it created more atmosphere as there was more shadow on the model. I particularly liked the photos with lower aperture settings which seemed more tonal and emotional. We found it difficult to create a 'cat eye' effect in the studio we were using due to limited resources, however by using two large box lights on either side of the camera did mean the model was fully lit, with hardly any shadows. Finally, lighting the face from above proved more atmospheric, creating shadows under the nose, cheekbones and eyes; using a reflector board underneath meant these shadows were not too harsh. 

Friday, 16 October 2015

Lighting, photography and modelling


Getting used to camera. Quite low lighting.
Turning lamp level up (to 4) - much more flattering, less shadow on face
Using infinity cove - no shadow behind.

Infinity cove. Used reflector board to reduce shadow under chin.
Soft lighting with lamp more central
Soft lighting with lamp to the right of camera

Soft lighting with lamp to the right and lowered

Soft lighting, reflector board to reduce shadow

Strongest lighting

I really enjoyed getting to play around with lighting and taking photos. I found it interesting to see the different effects the lighting had on the photos. In terms of background, I liked it when the model was closer to the background - for me, the infinity cove made reduced the sense of character and made the photo look more fake as it removed the shadow from the background. For this reason, I liked the photos taken in the strongest lighting, and also the soft lighting when a reflector board was used as it created just the right amount of shadow in the background. I felt that the soft lighting added a warmer atmosphere, but that the strongest lighting was most flattering for skin and colour. In terms of composition, I liked photos with more movement, for example when the model is laughing or brushing hair hair with her hands. 




Digital Image Production lesson 3 + 4 notes


  • Facetune app. - we took photos of ourselves and began to alter our appearances with
    various tools, such as reshaping/resizing facial features, brightening skin, etc. The more changes were made, the less the photos really looked like ourselves anymore.
    • Making the changes was enjoyable when it was just silly, however after making more and more changes, when we realised we were 'correcting' our own faces it became self-depricating. 
    • I didn't really mind the changes being made to myself as we didn't make many, however I think if I was a model in industry, having my whole bone structure altered would take things too far.
    • I think editing the photos made the models look worse after a while - smoothing a few blemishes is okay, but soon the faces just began to look face and lifeless.
    • I would like to practice editing photos more, to experiment with heavily altered images compared to subtle touch-ups. 
    • If I were to do this again I would take the photo in better conditions first; using better lighting and make-up, so that less editing would seem to be needed. I will need to practice my photography skills and setting up lighting that is flattering for me/my models.
  • In editing photos, are we still only improving looks, or are we turning people into an entirely new person?
  • Compared to make-up, editing photos on computers can make them look much more false - when too many blemishes, shadows and creases are removed, it eliminates any sense of character from the face, and makes them look fake. 
  • Ethically, there are faults in post-production. People begin to recognise their supposed 'flaws' more, and so feel worse about their appearance.
  • Modern technology is developing a computer which automatically generates 'better' versions of facial images; by adjusting symmetry, youthfulness, clarity and smoothness, and vibrance of colours
    • But does a scientific definition/formula reflect current ideals? Beauty, and our perceptions of it, constantly changes. 
    • Also, this computer only works for white faces. Furthermore, there a variations in ideals of beauty in all different ethnic groups, so generated faces may not appear more attractive to some people at all.
  • 'The Uncanny Valley' - when 'perfection' becomes creepy. 

  • Touch-ups on photos began being done as early as 1860s; however this would mean the photographer/artist painting in fine details or blurring over blemishes and lines after the photo had been printed. In the 1930s, a photo of Joan Crawford was retouched by James Sharp, who spent six hours using a machine which backlit and vibrated the original negative, meaning the film could be physically smoothed out.
  • Is it still acceptable in modern day? In this day and age, there are so many campaigns about feeling beautiful as you are, in your own body, that it seems strange that so much editing still takes place in model shoots. As viewers, we want to see beautiful images; but when models begin looking fake, or too 'perfect', and thus create unrealistic goals for naive viewers, it doesn't seem like such a good idea. On the other hand, if completely unedited photos were published, I think viewers would be disappointed; it is hypocritical of us to say we disagree wholly with retouching photos. 
  • This asks the question of why companies feel the need to continue heavily editing photos, especially as some adverts have been banned due to false advertising
    Banned due to heavy
    airbrushing in post-
    production
  • Is what the models want considered? Why do fashion companies get to make the decision about editing photos - what if the model liked how he/she looked in the raw photo, or disagreed with unrealistic-looking edited photos?


Monday, 12 October 2015

Digital Image Production lesson 2 notes

How to view models and women: beauty and power...

  • Unnatural, sometimes outrageous poses
  • Had different effects on male and female viewers
  • Often childlike poses; touching mouths - so common in modern photography: Suggestive - vulnerable poses - sexualised
  • Why are all poses 'aimed' at men (submissive, attractive, sexual) despite the media/adverts/products being for women?
  • Some say models pose like this to indicate their awareness and control over men and male attention; they know they are being watched
  • Male and female power levels
  • Photographers are often male - objectifying models


What we did: posed for photos (copying professional shots) and directed models
Why: To practice communicating with models in order to perfect the desired photo
How I felt: Posing - awkward, uncomfortable, silly; but still enjoyable. Didn't like the end photo!
                  Directing - More in control, enjoyable, found it difficult to copy image and to get models to cooperate 
How my partner felt: found it hard to understand what I, as the director, meant; difficult to pose and hold still, felt uncomfortable
Changes for next time: better lighting! More time, more confidence, clearer instructions 

Inspiring model photography

Photo by Orea, modelling agency, 2007. 
 I find this shot inspiring because it does not conform to the typical seductive or flirtatious model poses which we see so commonly in the modern day, yet is still beautiful; without being revealing or outrageous. The pose adopted is quite a natural one, as though the model is simply pulling her hair over her shoulder. Furthermore, I like that the short nails, minimal make-up and beanie hat make the photo quite relaxed and casual; not overly feminine. 
Kara Searle by Nicholas Routzen
This pose is again not very sexual and is quite a natural pose which you might see a normal woman sat in, in everyday life. Despite being fully clothed and covering up a large portion of her face there is still a sense of mystery to the model, her vibrantly patterned clothes contrasting her  captivating stare.


Ellie Goulding
I love how natural this photo of Ellie Goulding is. Her hair and make-up is relaxed, and she is wearing comfortable clothes, her laughter clearly sincere; I find it inspiring that such beauty can be captured without any drastic lighting, make-up and posing.

 Brohard, 2011, unposed image
This unposed image inspires me because it captures such beauty within it's mystery, provoking so many questions; what is the model frowning at? Where is she? I find it interesting that she wears a camera around her neck, almost as if it is the photographer who is in fact in front of the camera. I love how natural this photo is, and how without any specific posing, the model still appears quite sexy.

Daphne Groeneveld, photographed by Txema Yeste, styled by Juan Cebrian
Harper's Bazaar, Spain, 2013 
This photo caught my attention because, even without a typically seductive pose, i.e. pouting/looking at the camera, etc.; the model still appears quite sensual, delicately touching her bare shoulder. The hair, make-up and positioning make it seem as though the photo was originally planned differently, perhaps in a more common, flirtatious pose. However,I like the fact that she looks genuinely happy and natural. 

MUA: Amanda Wright, 2013
I liked this pose because while the plump, bright lips create the typical flirty effect of many model shoots, the close angle removes the concept of unnatural bodily poses, and the closed eyes and hands on the face create a sense of almost stress or pain, contrasting the seemingly happy mood of the make-up. 
Betty Adewole by Arved Colvin-Smith, Stylist Magazine #170, MUA: Celia Burton, hair: Kota
This photo is one of my favourites. Betty Adewole appears fully engrossed in her 60s-style dancing, without a care about how she looks to anyone else. Therefore, while not being a stereotypically 'sexy' pose, her confidence and carefree attitude is still very attractive.


From researching model poses and photography, it is clear that my interest lean towards more natural, happy and fun photos; I find it impressive and more enjoyable to look at when artists and models are able to create a sense of sexiness without adopting an outrageous or unnatural pose. 

Tuesday, 6 October 2015

Digital Image Production lesson 1 notes

Lighting and directing a model.

Casting

  • Choose the right model for your shoot! Even when working with professional models.
  • Ask to see un-retouched photos from potential models. 
  • Choose models depending on desired look - bone structure and features are vital for creating the perfect image
  • Choose a model with a suitable attitude/style
  • In portfolios, look for a variety of poses - shows experience and versatility
  • Communicate in a friendly manner. Pay for model's expenses, make them feel welcome and wanted
  • Use a cool room and provide water to avoid sweat as this will ruin photos
Directing
  • Show model desired pose yourself
  • Take tear sheets
  • Keep the model moving
  • Relax and be in a good mood; your own body language can set the tone of the shoot and make the model feel at ease
  • Talk and listen to model, be honest but not rude
  • Photo any quiet/unplanned moments as these may produce the best images
  • Don't put pressure on yourself; run test-shoots and plan enough time. Set up lighting before beginning with the model
  • Never work in the dark - this will cause red-eye and/or enlarged pupils
Lighting
  • Low key lighting; lights usually set at sides. Creates darker mood.

  • High key lighting; lights usually set in front of model. Creates brighter mood.
  • Consider background and make-up.







Photographer research


Cecil Beaton was an English photographer in 1920s and 1930s. He had a unique style of posing sitters with unusual backgrounds, and photographed multiple royal weddings. His images captured elegance, glamour and style, his work heavily influencing the world of portrait photography. Much of David Bailey, Mario Testino and other contemporary photographers’ work shows evidence of this influence.

Erwin Blumenfeld was a fashion photographer from Germany in the 1940s and 50s. He also worked with celebrity portraiture and fine art photography; often black and white nudes. Blumenfeld was said to be "one of the most innovative and influential photographers of the 20th century," (Daily Telegraph 2013). His first double page spread in Vogue, 1944 was a photograph of his daughter’s legs; however, Blumenfeld soon generated awe in everyone with his famous front page of Vogue in 1950. He also photographed fellow photographer Cecil Beaton. Blumenfeld’s unique style included how important he believed the background of his photos to be. He also incorporated a risk/danger element, fascinating viewers by bringing something new and unconventional to the table. Due to the limited technology in the 20th century, Blumenfeld added colour by painting in details after printing.



Richard Avedon’s work in 1940s-60s captivated the fashion world, and was unique due to his minimalist, provocative, deep and emotionally revealing portraits. It was important to Avedon that his models convey emotion and movement, straying away from the normal fashion photography of the time. Much of his work featured the latest fashions in real-life settings such as Parisian cafes and streets, shot elegantly in black-and-white. Avedon’s photos were ones of grace, beauty, and unique appeal; demonstrated by his fascinating piece ‘Dovima with Elephants.’



David Bailey is an English, fashion and portrait photographer who has been working from 1959 to the current day. Bailey worked largely with Vogue, shooting 800 editorial pages in one year. He also photographed many artists of the 60s and 70s such as The Beatles, Mic Jagger, Alice Cooper, and the Rolling Stones. Bailey’s work has quite a flirtatious theme, involving movement such as hair being roughed up by wind.



Helmut Newton was a German-Australian artist in the 1940s-80s. He was a fashion and theatre photographer, taking provocative, erotically charged black-and-white photos. His work appeared in the British, French and Australian versions of Vogue, and he also worked with celebrities. His 1980 series ‘Big Nudes’ certainly maintains a sexual vibe, displaying powerful, confrontational nudes.’



Guy Bourdin was a French painter and self-taught fashion photographer in 1950s-80s. His contemporary photography, like many fellow photographers of the time, was provocative and sensual, but suddenly introduced a surreal, sinister vibe of danger and taboo. He was a colleague of Helmut Newton at Vogue, and they worked closely, stating that they could not have achieved what they did without one another. Models in his work often appeared dead, injured or at the least, uncomfortable, which was shocking to Bourdin’s audience, causing curiosity as to the vivid stories that were always behind his photos. Unlike many famous pieces at the time, Bourdin also began to incorporate vivid colours, perhaps reflecting the surreal element and strong backstories. Bourdin also worked on shoe designer Charles Jourdan’s ad campaigns from ‘67-‘81. 



In the 1970s-90s, Herb Ritts was an art and commercial photographer. He worked in fashion, producing portraits (often nude), and editorial work (in Vogue); and also on ad campaigns (Georgio Armani). Additionally, he directed music videos and commercials. A lot of his work featured clean lines, strong forms and high contrast, and this graphic simplicity meant it was easily communicated to and felt by viewers, however it challenged conventional norms of gender and race at the time; for example there was a strong homoerotic theme as he was one of the few photographers who used male models.



Rankin is a modern day English photographer who began his work in the 1990s. He specialises in portrait and fashion photography, recently creating the film Seven Photographs that Changed Fashion, in which he recreated famous photographs originally taken by the photographers mentioned above.


What I found surprising was that many of these photographers started their pathway to fame by working in the forces; for example taking identity shots for marines, or aerial photographs for the air force.  I feel very inspired by all these photographers' work and, although I have not studied or practiced any photography before, I now feel fascinated and enthusiastic about learning it. 

Bibliography: 



Photos: