I'd rather be in outer space đ¸
The Stonewall Inn
PUT YOUR BEARD IN MY MOUTH
⣠Chile in a Photography âŁ
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Product Placement
NASA
tumblr dot com
The Bowery Presents
Fieri Frames
Origami Around
Color Me Curious
YOU ARE THE REASON
tannertan36
Phantogram Three
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Not today Justin
cherry valley forever
ojovivo
pixel skylines
seen from Italy
seen from Colombia
seen from Ukraine
seen from France
seen from Malaysia
seen from United States
seen from India
seen from United States
seen from Canada
seen from Germany
seen from Brazil
seen from Pakistan
seen from TĂźrkiye
seen from United States
seen from United States
seen from Brazil
seen from Costa Rica
seen from Malaysia
seen from Malaysia
seen from TĂźrkiye
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Unit 10 - job websites
www.the-aop.org - job shop
www.reed.co.uk/jobs/media-digital-creative/photographer
www.photographyjobsfinder.com/jobseekers/Photographer%20Assistants.html
All of the above feature job links and applications for various postitions within photography. Production, assisting, digital technician etc...
Unit 10 - 5 year plan
Once I leave college I plan to find a job assisting a photographer that I find inspiring, or that is similar to the work I produce. I plan on building a rapport and undertaking more responsibility with them over a couple of years, meeting clients and other likeminded creatives that I could use to help me with my own career in the future. Whilst doing this I will make time to work on my own personal projects and editorial submissions. I want to have shot my first i-D cover by the age of 30.
Unit 27 - legal requirements and ethical issues.
model release -Â A model release, known in similar contexts as a liability waiver, is a legal release typically signed by the subject of a photograph granting permission to publish the photograph in one form or another.
licence to use -Â A licence to use or LTU is a licence to use an intellectual property such as a patent or trademark. This is distinct from other types of licence such as a licence to manufacture or copy the invention or design. It is the sort of licence commonly issued for the use of computer software.
copyright -Â the exclusive and assignable legal right, given to the originator for a fixed number of years, to print, publish, perform, film, or record literary, artistic, or musical material.
trade mark -Â a symbol, word, or words legally registered or established by use as representing a company or product.
patent -Â a government authority or licence conferring a right or title for a set period, especially the sole right to exclude others from making, using, or selling an invention.
copyright and legal requirements in relation to digital photography -Â
Photography tends to be protected by the law through copyright and moral rights. Photography tends to be restricted by the law through miscellaneous criminal offenses. Publishing certain photographs can be restricted by privacy law. Photography of certain subject matter can be generally restricted in the interests of public morality and theprotection of children.
In general under the law of the United Kingdom one cannot prevent photography of private property from a public place, and in general the right to take photographs on private land upon which permission has been obtained is similarly unrestricted. However, landowners are permitted to impose any conditions they wish upon entry to a property, such as forbidding or restricting photography. Two public locations in the UK, Trafalgar Square andParliament Square, have a specific provision against photography for commercial purposes without the written permission of the Mayor, or the Squares' Management Team and paying a fee, and permission is needed to photograph or film for commercial purposes in the Royal Parks.
Persistent or aggressive photography of a single individual may come under the legal definition of harassment.
Copyright can subsist in an original photograph, i.e. a recording of light or other radiation on any medium on which an image is produced or from which an image by any means be produced, and which is not part of a film. Whilst photographs are classified as artistic works, the subsistence of copyright does not depend on artistic merit. The owner of the copyright in the photograph is the photographer â the person who creates it, by default. However, where a photograph is taken by an employee in the course of employment, the first owner of the copyright is the employer, unless there is an agreement to the contrary.
Copyright which subsists in a photograph protects not merely the photographer from direct copying of his/her work, but also from indirect copying to reproduce his/her work, where a substantial part of his/her work has been copied.
Unit 27 image evaluation
I feel my images are successful portraits because the offer insight to the character and show personality. I like the composition of the images and the formatting of the diptychs. The editing techniques iâve used give a subtle and natural effects, with slightly warm tones in the shadows. For example the gradient maps used on a low opacity give a very subtle tone to the highlights and shadows. I feel this makes them look more interesting and professional. Something I think I could have improved is the symmetry of the images. I feel some of them in terms of tone and mood donât match and this makes the series feel disjointed. This is particularly visible in the portraits of George. A way I could fix this in future would be to create an action in photoshop to replicate the same effect on all the images.Â
Overall I like the images, the have a neutral candid and real feeling to them, and iâm really enjoying the use of natural light for its cool tones and soft diffused effect.
Unit 27 - Final images
Unit 27 - Digital image capture and editing
For this project I have decided to shoot images that demonstrate a clear ability and understanding of editing, file management and image sizing techniques. I will shoot two portraits and edit them to my personal preferences.
Photographic development of finals
These are my final images, to get to these results I used a large proportion of image manipulation. For the digital images I used layers of brightness and contrast, vibrance, black and white layers on the soft light setting, and a variety of gradient maps on soft light. I feel these created a certain tone and atmosphere to the photographs...Â
Here is an example of my developing process...Â
Artist Study - Alasdair McLellan
British born Alasdiar McLellan is an undeniably successful fashion photographer, but remains unknown to many. His under the radar image doesnât stop his work infiltrating both commercial and high fashion industries, producing campaigns for Louis Vuitton, Clavin Klein and Armani just to name a few. His understated style and personal touch was first recognized by i-D stylist Simon Foxton after seeing his work photographing the Leeds club scene. Foxton commissioned McLellan to shoot an editorial for i-D, and since his photographs have continued to grace the covers and pages of the magazine, along with Vogue, GQ and Another. I like Alasdair McLellan because of his natural and beautiful aesthetic. Thereâs a purity to his photographs that gives them a completely candid feeling. The ability to make a constructed fashion shoot look natural and organic is something I greatly admire. This style is something that Iâd like to try and replicate in a handful of my FMP photographs, as Iâm looking at individuals around me, I want the photos to look honest. I donât know if itâs McLellanâs film work that has a nostalgic feeling which makes his work seem real, or itâs just his natural talent. But honesty and purity is something I want to try to achieve in my own work. This image is a perfect representation of McLellanâs effortless beautiful style. Thereâs a softness to the image that gives off a calm and serene feeling. It feels like a candid shot, as if itâs been taken in a moment. It doesnât look like a fabricated shoot. The way the model looks away, as if completely unaware of the camera; again adds towards the feeling of a candid shot. This is another of McLellanâs portraits. Â Again it features the same organic, in the moment aesthetic, and the deep connection between the eyes and the camera draws the viewer in to a point of trance. The effortless beauty in this image is consistent with Mclellanâs other imagery and is a prime example of what makes his portraits so enchanting. What I would like to take from McLellanâs work is his ability to capture purity. He doesnât overcomplicate his work, simple styling, natural light and classical beauty. Though this skill is something that takes years to perfect, I would like to think that I donât overthink my images. Thereâs no bells and whistles, just simple imagery that hopefully has the ability to catch the eye of viewers.
David Bailey Artist study
David Bailey, born in 1938 and is one of the most successful and influential Photographers to ever come out of the United Kingdom. Growing up with undiagnosed Dyslexia and Dyspraxia, school life was difficult for Bailey, after leaving education at the age of 15 he sped through a series of dead end jobs, before being recruited for National Service in 1956. Bailey was demobilised in 1958 and decided to pursue a career in photography, a hobby he developed whilst serving in Singapore. After a job assisting photographer John French, and another photographing at John Coleâs Studio 5. Bailey was contracted as a photographer for British Vogue, within moths David was shooting Covers and major editorials, and at his most productive shot more than 800 pages of content within a year. Along with Terence Donovan and Brian Duffy, Bailey helped carve out âSwinging Londonâ scene of the 60âs. Through mixing with the right crowd, all three were launched into a position of fame. During this phase a collection of work named âBox of Pin-Upsâ was created, and featured the people of the moment. The Beatles, Jean Shrimpton, Andy Warhol all the way through to the Kray twins. Davidâs work appeals to me due to its characteristic nature. In a short film named âTruth. Beauty. Baileyâ he describes what he strives for âIâm trying to find out who they are, what their story is. I donât want to change them because it wouldnât be them.â Itâs with this principal in mind, that I have sculpted the idea for my FMP. He tries to display the characters in a portrait, the exact way they want to be seen, itâs nothing but honest. Kate Moss (on right) has been noted to be one Baileyâs favorite models to photograph. She along with Jean Shrimpton, are Baileyâs unexplainable beauties. In this photograph, he has tried to capture the very elements that make Kate so mesmerizing, and the model she is today. The aim of every single one of his photos, is to capture the person for exactly who they are. Moss is the definitive beauty icon of the generation, and he has captured just that. Itâs a classic beauty shot, with studio lighting to highlight the striking features. Itâs cropped to just above the waist, to help the eye be drawn to the face and avoid distraction. The second thing to be drawn to is the visible breast; this could be to emphasize the beauty of the subjects form, or even to help represent the character behind the image. The Krayâs, English gangsters who were the foremost perpetrators for organised crime during the 50âs and 60âs. They had so much fear surrounding them that they became famous in their own right, and thus were photographed by Bailey. Again, he has captured them exactly how they would want to be seen. Itâs this aesthetic that makes all of his work seem so real, as apposed to the fantasy story telling, that so many photographers cling to. The image bleeds intimidation and power. Baileyâs classic portrait setup is actually very simple. One flash head light to illuminate the subject, and then numerous lights on the background to achieve the pure white finish. I assume this is done to produce something honest; itâs plain with no frills. His images are about the people, not everything going on around them. Predominantly I want to replicate his ability to capture character and atmosphere just from a simple portrait. I want to convey a personality, without trying to make anything too obvious.Â
FMP - Project evaluation
For my project I initially set out to produce an editorial insight into the people around me, and I think I have done just that. Through the course of the project my idea has evolved and adapted, my original concept was to capture the people that I saw as inspiring. But documenting purely the exceptional seemed unfair, and the reality is that not everyone is exceptional. With this in mind I thought I would delve into the world of people in my local environment. Looking for a medium in which anyone can relate, including myself, I started to get onto the idea of dreams. Dreams are something I hold dear to myself, and I have used this project to express my feeling towards them.
 I think I have achieved what I set out to do; I feel my project offers an honest exploration into the dreams and potential futures of my peers. Knowing what you want to do and where you want to be is hard thing to answer at any age, and answers to questions about it are often contrived. Though the answers that feature in my project could be perceived as cheesy, manufactured or even silly; I feel that emphasizes the fact that no one does or should know exactly what they want to be or do. The amount of pressure young people get to decide their future from a young age is ridiculous, be it education, a degree, or a job; a sense of direction as opposed to a structured plan isnât deemed as acceptable. And this is why I believe in following dreams, and doing things that better you as a person⌠rather than an as employee.
 So in terms of message, I do feel like my project is a success. In terms of the work behind it, there are definitely strengths and downfalls. I feel positive about the actual photos Iâve produced; thereâs good variety and I there are some interesting and striking visuals. Studio is one of my strengths and to try and expand my abilities I ventured into some film work. The film images that go side by side with the digitals definitely add a more honest, nostalgic feeling to the series. And with such personal subject matter, I feel itâs more than appropriate. If I were to repeat the process, I would definitely take more time to fine tune my film skills. Due to my lack of practice I wasnât able to produce film images for two of my subjects. Time management and experience would be of key importance if I were to try again.
 Another aspect that I canât help feeling fell short was the size of the project. I think that the message I tried to get across would have had more impact if I had used more subjects. I feel thereâs a lack of diversity and interest and such a small group of people canât accurately depict the generation of today.
 This project has showed me that without meaning, art is pointless. Without meaning, art is just something pretty on a wall. I have realised that producing something of quality in the creative industries requires expression, be it your own, or someone elseâs. Putting my personal thoughts, views and ideas into a project has put me out of my comfort zone, but has definitely yielded results.
Artist study - Alasdair Mclellan
Artist study - David Bailey
Project planning and organisation
Photographic style - lighting experiments
For this shoot I wanted to experiment with a lighting style that combines elements of both my own and David Baileyâs style. The pure white background, combined with my love for high contrast images, with dark black and light whites. I achieved this by using one softbox for a main light, placed on the left and above the subject. And three tungsten light illuminating the background. In reference to my FMP, Iâve decided to shoot my final studio shots using this kind of lighting.Â
FMP - Capturing character - photographic testing
The point of these photographs were to try and capture personality and character within an image. I asked the models to be themselves or to do something could express their feelings or character. Iâve produced these tests because a large part of my project is to show identity, In my previous David Bailey style photographs I did the same, but Iâve shot these in my own style, as opposed to Baileyâs.
FMP - David Bailey photographic style testing
For this image I wanted to try and replicate Baileyâs photographic style. I used two tungsten lights to illuminate the backdrop to get the pure white effect and one soft box to illuminate the face. I think the image is successful, and also captures the character of my model. From this Iâve noticed its the small minute details that tie character images together. The pose, strong eyes and the slight smirk lead you believe this is a glamorous character, which is exactly what I wanted to capture. Though I like the image and the style, I want to try similar things, but leaning more towards my own style, as opposed to Baileyâs.