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Evaluation

Remember When is a project that tries to capture a strong sense of nostalgia between old friends and place in which we used to spend a lot of time when younger. The body of work shows individuals revisiting specific places within the woodland where the memories were made and coming to realising how Highwoods Country Park has changed as well as they have themselves.

When originally trying to come up with my actual project at first I struggled to knuckle down on one specific topic as there were many different styles of photography I could choose to produce. From here, I began looking at practitioners I had an interest in such as Kyle Thompson and Ben Zank, who both use surrealism photography to create conceptual work. I attempted with using woodland area’s and fast shutter speed's to create awkward looking images however, I did not like the outcome of the images. Plus, I struggled to create a narrative behind the images I had been taking. It then came to my attention that I had been going back to the same place, Highwoods Country Park, to create the images and as to maybe I should re-explore the area as I remembered having memories there when I was younger. I continued with this and looked at photographers based around landscape and nature photography such as Paul Gaffney and Joel Sternfield and how they managed to make a place actually appear as something with a deeper concept behind it. I wanted to replicate a nostalgic atmosphere for myself by going back to old places within the woods and how change has occurred there. I was also shooting on medium format colour film iso 400 with a hasselblad at this point as I wanted to technically challenge myself and take more precision when shooting.

On one of my shoots however, I bumped into an old friend and decided to take a shot of him within the woods, Niall, and after showing my peers and tutor the portrait, it became clear that the portrait was stronger than my landscape shots of the woods itself. From here I chose to look at photographers who photographed urban landscape’s and included individuals within the shots, showing a connection between person and nature. Photographers like Alec Soth and Linda Brownlee were strong influencers in this aspect of my project. Still continuing with medium format, I did shoots with 5 old friends individually within the woods and visiting places within the woods we once experiences those memories. I tried to photograph them looking natural and casual within the landscape, portraying they felt comfortable there and that sense of nostalgia exists.

After I had done all the shoots regarding my childhood friends, I had to decide on what images I personally thought would replicate this specific feeling if I hung and framed them upon the wall. I eventually chose, and asked peers for their opinions which helped me make my decision altogether for my final prints in which I framed in brown wooden frames that I am going to hang in a square formation. I also printed off some other images from my edit of the subjects and have placed them in a folder I will put underneath which will allow people to see the other images and as to why I chose the certain images I did.

Throughout this project I think one of my biggest downfalls was coming up with my topic to shoot slightly later than I should have. If I had thought it up quicker, I would have been able to shoot more friends and have a better selection of images to choose from for my finals. Another downfall I would say is at the start of the project, my technical skills regarding using the Hasselblad and film as there were a few images that were not correctly exposed or had not been focused properly. After I encountered this issue, I went away and practised and feel that I am a lot more comfortable with shooting on medium format now than I had been before.

Another issue encountered when framing was the fact that because I chose a wooden frame, there was alot more dust that kept getting inside of the glass frame which I found a struggle because regardless of how many times I cleaned it, it would still manage to get dust within it. If I was to do it again, I would have brought a different type of frame also. I am happy with my images on the whole though, I personally feel this project replicates me as a person and I enjoyed producing this work and would like to possibly continue with it on a bigger scale next year possibly.

Final title and synopsis

Trying to come up with a title for this body of work has been a struggle due to it meaning so much to me personally yet, not wanting to make it come across as too wordy nor making it something too obvious like ‘Childhood friends”. I chose to go with the title ‘Remember When’ for my project in the end which I feel creates a sense of nostalgia and as though someone is telling a story or about a time when something happened, which relates to my body of work.

Synopsis:

‘This project explores a narrative of friendship and how one singular place can hold such relevance for a group of people who once were close. The portraits show the individuals revisiting the locations in which those childhood memories were once created in Highwoods Country Park. Going back to the certain places allowed a strong sense of nostalgia to be created between the subjects and the place itself allowing them to remember the memories created there. The realisation of change between eachother’s appearances was evident along with the change of the place itself in comparison to how it appeared when we were younger. I have tried express how friendship and place are both a significant aspect that can bond people together a closeness that can withhold having a lack of contact for many years with someone.’

#synopsis #title

Raw scans of Niall and landscape shots taken within Highwoods Country Park

Raw scans from Joe’s shoot

Raw scans from Charlie’s shoot

Raw Files from George’s shoot

Callum raw file scans

The above are the raw scans in which I have saved from Callums set of negatives that I shot when taking portraits of him for this project.

William Eggleston

William Eggleston is an American photographer who is renowned for his success in making colour photography become a serious medium within the art industry rather than being seen as humorous. Before Eggleston exhibited all of his works, colour photography was not taken seriously and has actually been looked down upon as only black and white photography was seen as the correct medium to be using at the time.

Eggleston has a snapshot aesthetic that is clearly seen throughout is work due to the untimely portraits that show the subjects moving or mid-speech creating connotations that they were unpoised and rather spontaneously taken. It is seen in the bottom image of the lady sat on a curb that her arm is blurred due to movement which suggests Eggleston’s snapshot aesthetic further. It is also the same with the other images, the individuals appear as though they are mid speech creating connotations as to Eggleston taking the image when the subjects were not prepared for them to be. Linking this specific aspect of Eggleston’s work back to mine in this project, I have taken the spontaneous and casual stance upon the subject I have photographed yet, not to aht extent. I have tried to keep it unpoised yet, slightly in some form of position to allow the picture to appear the way I intended.

Alot of the images he has taken have bold colours and a high vibrance towards them, almost emphasising the fact he is using colour for something serious and is trying extremely hard to get it granted the seriousness it deserves. The subject is always within the central focal point and appear to be wearing bold colours which allows them to contrast more evidently within the frame which i have also attempted to do in most of my images as I want my subjects to be the main centre of attention within the images. The images are from a series titles Guide which I saw in London last year at The National Portrait Gallery and, it became clear to myself that the images do not completely link with one another. There appears to not be any obvious underlying narrative in the work apart from tey fact they were all taken within his home town. The fact they are so inconsistent, it could be replicating his childhood and as he grew up in this town and throughout this time in his life, he could have been unsure or confused as to who he was as a person or who he was trying to become.

Printing finals and framing

When it came to printing my finals, I had a rough idea that I wanted them to be between an a3 - a4 size and definitely have them framed but I was still unsure as to whether I wanted there to be a border or not. I felt that having the images framed with a dark colour such as a black/brown colour would allow the images themselves, which are somewhat dark anyhow, to contrast with the bright white colour of the walls in the studio the pictures will be hung. I originally thought about doing five 12 x 12 inch prints and presenting all of them in frames in a line with at least 2-3 inches between each of them to allow breathing space. Unfortunately however, there is a maximum of a meter to each person within the white studio which would not allow me enough space to present my prints the way I would have hoped. It would all equate to roughly 72 inches = 1.8 meters. I could however get rid of the breathing space between each one but I feel like it would create a sense of claustrophobia and suffocation between all my images as, they have all been taken in a place where nature it evident and placing them all so together with each other, I feel it eliminates my intentions of impact I was hoping to create. So i have decided to go for 4 images at 12 x 12 inches (approximately) , I would still like to present them in a horizontal line as finals but with the breathing space intended, it would still equate to 1.3 meters and I would not want to present only 3 as I feel that is too bare and does not explain nor present my narrative very well.

So from here, I am debating on doing either a vertical line which would allow me to give them all the space they deserve yet, some would be higher than others and due to the lighting, it may reflect off the higher up ones not allowing details to be seen as distinctively as I would of hoped. This leads me to the conclusion of presenting them in a four, this will then create a square shape anyway, like the images I have shot on the hasselblad that are of a square format anyway. I would also be able to give them the 2/3 inches breathing space I would like but, if I presented it this way, it makes me think that I would be unable to do a fifth framed image unless it went in the order of one frame then three in the next row then one in the bottom row but, I would be unsure as to what order to put it in as they are all equally strong childhood friends that i have grown up with.

When deciding as to whether or not to use a border on the prints, I chose to print one of the images I definitely knew I wanted to use of Charlie as my finals. I printed the image on the inkjet printer with both borders and without borders, the one without is of a slightly smaller scale as I was experimenting with sizes to print the images off. I originally preferred the image with 1/2 inch border but then afterwards printed it with an inch border and felt as though it took away from the image too much.

I chose on a wooden frame due to the fact the portraits were taken upon the fact that we all created memories within Highwoods Country Park and also preferred the texture of this frame in comparison to the plain black plastic ones. The texture relates to the woods and creates a less un-polished look to the images, much like the unpoised casual images as well as the individuals I photographed, I did not portray them in a polished glamorous way, instead the way in which they are now and how you feel when you are a child. When you are a child playing in a woods, you do not care about how you look, if you will get mud on your clothes or if you get a hole in your shoes, it is just about whether you can climb that tree or win the race, not about the way you look.

I originally printed off a shot of George, Joe, Charlie and Callum as my finals however, after seeing the colour differentiation between Callum’s bright yellow background and the others all having a green natural tone, I felt as though the image did not go the way I had hoped. So from here, I made the decision to print the shot of Niall off instead, which I personally feel goes better with the four, and framed that shot instead for a final. If I was to change my mind and to 5 images, then I would include Callums shot and put it in the middle of a horizontal line but, like mentioned I will not be able to present this way. I could always place callums shot in the middle with two prints above and two under however, there is no major significance given to him from my part as they are all equally good childhood friends. I plan to buy another frame and put callums shot within it anyway and see if I am able to arrange a position in which they all appear equal to one another when hanging.

Dougie Wallace - Harrodsburg,

Dougie Wallace is a london based street photographer who grew up in Glasgow. His projects have a documentary style towards them that are recognised globally and often address the public within them, such as Harrodsburg focusing in on the middle and higher class British public. Dougie shoots with a digital camera and uses flashguns when taking the portraits of individuals which, in my opinion, creates a very unflattering appearance of those he manages to get images of. All the images in this series were taken around the shop Harrods in London in which many middle and upper class individuals shop. Wallace has a very abrupt style of shooting in which he will not ask for a picture and will instead simply put the camera in a passing subjects face and take a shot. The fact that he is shooting in a public place means that the people who do or do not mind if he takes picture are unable to do anything about it as, he is within his rights.

The shots Wallace has taken for Harrodsburg, to myself do not appear to be carefully thought out baring the composition, angle or the individual or how they look within the images however, in the documentary, it shows Wallace thinking carefully about who he does and does not want to take images of. He waits for people who’s appearance emphasises that they are within the upper class range which is what his project, in my opinion, examines. It shows the wealthy in a perhaps less attractive manner than to which they are often portrayed as being. The fact that they have more money than those of the working class and are able to pay for designer brands and drive expensive cars does not take away the unsightly privilege of appearing bad in a sudden snapshot image.

The use of the flash in the images also exaggerates the unattractive look of those in the images that have been taken, which somewhat reminds me of Martin Parr’s work. The bottom image shows an elderly gentleman dressed up in a suit, exaggerating his wealth and he is also holding money which is presumably for the tax that is seen to the left of him in the image. He appears startled and due to the flash, it illuminates his wrinkles and facial expressions more distinctively. The same goes for the middle image of the women who Wallace managed to get a slightly lower down angle of, which adds to the unflattering atmosphere within the image. Having the Harrods store name in the corner of the image allows the audience to know she has been shopping at one of the most expensive shops in London. However, the flash does not work in her favour as the facial expressions she pulls makes her appear older than she actually is and makes her seem less of what people stereo typically class as those who are wealthy.

The top image is very controversial however as in the documentary watched about Harodsburg showed his taking the images of the woman with a hijab on and continued walking on. It is against their religion to have images taken of them and so they went after Wallace to get him to delete the image however, he was still stern and would not allow it. In an extreme case like this, of course Wallace is within his rights but, ethically it would not be right for the woman. In the image she actually looks very startled which shows she was not expecting it to happen.

Richard Gilligan

Richard Gilligan is an Irish born photographer who now lives and works in New York. Gilligan’s personal work mainly consists of portraits along with landscape shots that revolve around the skateboarding scene however, he has also dont commercial works for brands such as Fjall Raven and Apple Music. Gilligan’s series D.I.Y looks at DIY skate parks throughout the world through a complication of different shots showing how they all differ and portraits of individuals at the skate parks. Above are a selection of portraits I found on Gilligan’s website that all include individuals with an alternative aesthetic towards the way they look. This links to the portraits I have been taking for my current project as although they have been photographed for the purpose of being childhood friends, they all maintain a similar way of dressing that replicates their personality. They all skate also which links to Gilligan’s work as I want to portray them more in this aspect but in a personal way due to them being such close friends yet, I do not want the portrait to solely be portrayed as them being skaters then again, if there are no skateboards or skate parks in the background then it will be unlikely they would be.

Gilligan’s portraits all have a shallow depth of field and go from a range of close ups of the subject’s face to distant shots showing the whole body as well as the surroundings whilst the background still remains blurred. Alot of the portraits, apart from the black and white ones obviously, are rich in colour and show a lot of vibrance, especially in the bottom left portrait of the individuals hoodie and hat. The images all show the individuals not exactly posing but in a more relaxed and comfortable portrayal, which I have tried to replicate in my portrait's for this project. Gilligan’s portraits have acted as a strong influence for my work in this certain project due to the angles, portrayal of the subjects and also the alternative aesthetic that is clearly shown.

Craig Questions The top image is of Craig Questions, skateboarder, that shows a black and white portrait of Questions in the central focal point. He is holding a skate board and balancing on top of a rock upon a beach where the tide has completely gone out of. He is looking down which signifies he could have been looking at his reflection or perhaps wanted to hide his face for the portrait. Gilligan may have taken the shot whilst the subject was not paying attention also, creating a more casual yet strong image. It is evident he has many tattoos upon him which at a first glance look similar to the drawings upon his skateboard. This creates connotations that he may be interested in art. The lack of life surrounding him creates negative space around him, which creates a sense of isolation which is also emphasised by the black and white scheme the image has.

Rejjie Snow The bottom left image is of an Irish hip-hop artist who’s stage name is Rejje Snow. The shot shows a detailed close up shot of Snow’s face with a blurred background and the main focus within the image being upon the individuals facial expressions as well as his Supreme hat. The individual is looking straight into the camera which, when the audience see the image will create a sense of involvement between them and the subject. The colours from both his hood and his hat are vibrant and high in saturation allowing his facial expressions to become more distinctive within the frame. His facial expressions appear in my opinion, relaxed yet intimidating, which could be due to him being a music artist he could be used to being behind a camera. His eyes, linking back to my previous point, looking straight into the camera creates a sense of dominance and intimidation towards the audience as, often making eye contact with someone is a difficult thing to do for many people. There are also bags underneath the individuals eyes which connotes that maybe he has been having a lack of sleep or is stressed, possibly due to his career.

Geoff Rowley The final image is of Geoff Rowley who is a professional English skateboarder and was a previous co-owner of Flip Skateboards. The portrait shows Rowley from a somewhat diagonal perspective whilst his body is facing towards the camera yet his face is on the side. He is seen holding a skateboard that has scratches on the underneath of it creating connotations that he uses this specific skateboard often or has had it for a long time. There is also a rip in his t-shirt on the shoulder which could have happened when simply skateboarding as behind him is blurred yet, it still looks as though it is at a skate park due to there being a shape similar to a ramp behind him. The way he is looking to the left it makes me think that he is distracted by someone doing another trick at the skate park or as though he is about to say something due to his mouth being partially open.

#richard gilligan

Title Ideas

Since starting this project, the original idea has changed quite dramatically from being about surrealism and isolation to then change and place and now, in a sense, the complete opposite. It is now focusing in on friendship and memories made within a specific place with natural and unpoised portraits replicating this. I feel as though the title for this project is important as it needs to essentially explain how all the individuals link to one another and possibly link to me however, I do not want to make it so the title makes it extremely obvious who the people are in the pictures and just screams ‘these people are those who i grew up with’ etc. I want there to be a sense of ambiguity created from the audiences perspective.

Current title ideas:

- Those who we grow with are the ones we live by - Childhood friends - The park in which we used to play - The people in which I...? - The friends who stayed the closest - The friends who are there through change - The memories of those you grew up with - would not make sense as the series of images do not physically show memories but people - Nostalgic nonesense - Those who change...?

Shoot 9 - George

This shoot was my final one regarding portraits of friends as I knew I wanted to have around 4-5 portraits for my final piece and George was the last individual I was able to get in contact with that was available for a shoot. For this shoot I mainly wanted to focus in on torso upwards shots to maintain consistency throughout the rest of the portraits I have taken already as I have a sense of idea as to how I want to present them. I picture the images behind either in a 2 rows and two columns with a 2 inch gap between one another with thick dark frames. I tried to keep George looking natural and not appearing too posed or exaggerating any body language or expressions and rather wanted it to have a relaxed atmosphere towards it. I wanted the images of individuals to appear casual to portray a sense of how once should feel around friends, which is often comfortable and not feeling awkward or forced.

I tried to keep the image’s fairly desaturated and not too vibrant as I personally do not favour over saturated images as the colours would not blend in with the other portraits I have done prior to this set of images. I favoured positioning him so it looks like he is somewhat looking down into the camera to create a somewhat dominating affect within the image, due to the trees that have been positioned behind him in the background.I also wanted to maintain a shallow depth of field within the images of George, allowing him to appear more distinct within the frame.

I personally am leaning towards either the bottom or top image to use as a final print of George due to the tonal qualities within the composition along with the casual yet edgy look that is being perceived. I am more towards the top one as the bottom portrait has a fair amount of space in the right hand side of the image which i do not personally like, I would have preferred him in the central frame instead. The top image has the dominating feel due to the subject and the trees combined as well as his alternative dress sense and straight facial expressions adds to the edge I was attempting to get within the image. The elements of the place and the subject himself being a friend of mine in which memories were made, allow the image to me to hold a strong sentiment regarding memories. In comparison, the audience may not see this particular narrative that I do so I may need to work on developing as to what my project could mean to other individuals viewing the work.

Shoot 8 - Charlie

This shoot was one of my favourite set of images I have taken for this project as it was with a close friend Charlie who I have known for a while and felt as though I could direct him more in depth. I could give him more specific directions regarding facial expressions and body language and he would replicate them, the same occurred with my other shoots but i personally feel this one went the best. I have known Charlie throughout my childhood and we have always gone through phases where we will have little to no contact then when we eventually see each other again, we pick things up right where they left off.

For this shoot I chose a more open area within Highwoods Country Park as I wanted to create a more nostalgic atmosphere towards these images due to him being such an old friend. I found an area with logs around an old camp fire which I felt replicated a sense of memories and the childhood aspect of having fun. I tried to keep Charlie in the central focal point of all the images and experimented with shots of him sat down as well as stood up, both in which showing his surroundings distinctively to the audience. I am leaning towards using the top image due to the composition and also the way he is looking away from the camera however, I do like the image of him stood infront of the camp fire looking down. The only issue with this image however is the fact the bottom of his shoes have been cut off which I feel ruins the image plus, the other shoots I have done with others have been torso upwards shots so I feel the top image of Charlie will more than likely be in the final selection of images I choose to print.

Although I did not instruct him to wear plain and mainly neutral coloured clothing, i feel it worked in his favour within this image. He blends with the backgrounds natural tones whilst his pale skin creates a strong contrast within the image. I tried to keep shallow depth of fields within these images also, like the other shoots I have done to maintain consistency and, although the place itself is an important aspect, as previously mentioned, I want to adjust the focus onto the people within the portraits. The shallow depth of field allows the subject, in this case Charlie, to be the main focus within the image and not the background surroundings although, I do want the natural element to be noticed throughout this project.

Context Development

Throughout this project, my context and meaning behind my images has consistently changed due to developing what it is I am actually photographing and why. It began with surrealism which, although aesthetically pleasing from my perspective, I did not feel that it summed up a well thought out body of work nor hold a strong contextual meaning as to why was photographing it. From here, Highwoods Country Park became the main focus,looking in at memory and place, the way the area holds many significant times for myself. Although the images I had taken of the place itself, to me, showed the change and development, from the audiences perspective, it defnitely did not. Due to them not having seen the place 15 years ago and consistently going back there and watching the place evolve, the concept of change and time was not evident within the images.

So from here, I have then chosen to focus in on the people who I grew up with and the significance that they meant to me then and still do now. I am still shooting them in Highwoods country park to link the images together more to myself and the place itself rather than just studio shots with plain white backgrounds behind each of them. At first, I had trouble figuring out what links all the portraits together but, all the male friends have a similar aesthetic and look which allows all the stand alone images to be strong as well as if they are together and are obviously my friends also. The idea of change is not evident within the images as i have no before images to explain this concept that this is what the project means in a sense to me. The images themselves are portraits of alternative adolescents in a natural environment, the place in which we shared strong memories with one another, i wanted them to be singular portraits instead of group ones as I feel they come across as stronger in a sense. It makes the image instantly become about one subject rather than a selection of people plus, I feel if i asked them pose together it may create a somewhat awkward or overly poised image.

The main focus of my body of work is friendship and how memories and bonds between certain people remain, even after a period of time. The people I have photographed in these portraits I have been friends with for years, they are not models and I have photographed them in ways that they do not appear over glamorised or staged. I wanted them to look the way they normally do, the people I know and who have made me the person I am today. I want the pictures to portray them with a strong sense of individuality because, to myself, they all are their own individual people to me and do not just blend in with others.

Gareth McConell - Nothing Is Ever the Same As They Said It Was, 2001-2011

Gareth McConell is an Irish born photographer who is currently based in London. McConell’s most recent work Close Your Eyes uses images from his archive of work of both portraits and landscapes and have been reworked to create a psychedelic series of imagery. The images show the portraits with a kaleidoscope type of view which emphasise’s the portraits of rave-goers and how the experience is like going to raves as there is stereo typically drugs involved when at them. The images I have chosen to look at for an influence for my portraits are from his series Sex, Drugs and Magick which consists of colour portraits of rave goers in Ibiza. The images were taken the day after having been partying and are shown within their homes/hotels. The series lasted for 10 years, 2001-2011 capturing shots of young people in Ibiza the night after having been to parties the night beforehand.

The selection of portraits I have chosen above have all been taken to show the models from the left hand side whilst they are all looking into the camera. The environments that the subjects have been photographed in really emphasise the fact that they are party-goers due to the bottles of alcohol and banners etc shown in the background of the bottom image. The top image also shows a sense of young carelessness due to the subject having a clear bruise on the left hand side of his face above his eyebrow. It is made unclear as to how this happened, whether it was due to falling over or getting into a fight, which emphasises the atmosphere of carelessness and just essentially, being in Ibiza to get drunk and enjoy one’s self.The way McConnell has positioned the subjects within the frame, they appear somewhat awkward, in my opinion, due to the way they are stood/sat and looking into the camera. Taking into account however, that they were all more than likely hungover or still under the influence of alcohol when the images were taken, without the context given, one would not know that’s what they project is about. As soon as someone were to read up on the project, ties begin to fit as to how all the people in this project fit.

I personally like the warm tones used within the composition in the bottom two images, it helps to reflect that they have been shot in a warmer area. I also want to implement the idea of having the subject with a straight face in my own portraits rather than smiling or laughing etc, I feel like it will create a more ambiguous and stronger image to the audience as to if they were different. The use of strong body language also will be an element to develop in this module, in McConell’s portraits, they all have strong posture’s which I feel creates a dominating feel to the image sin comparison to if they were slouching, leaning against something etc. It almost adds to the connotations to how drugs make people feel and they feel as though they can do anything, and with the body language appearing so strong, I feel it adds to the context of the work.

My friends that I have chosen to photograph for this project are very much into the party scene and going out most nights however, I do not want to portray my friends in this sense. I want to portray them in a more solemn and sincere way, as if to say it is more about the people they are that is why I am photographing them in comparison to how they act. I have chosen to photograph only male friends as, i feel that they all personally have an alternative aesthetic towards the way they look and the shots will go well with one another with the natural environment of Highwoods Country Park in the background.

Although my project was originally more about the place I made the memories with these people rather than the people themselves, it has occurred to me that the more I shot, the more memories came flooding back to me. The people who I made those memories with and hung out with at Highwoods Country Park definitely is what made the place mean more to me rather than the place itself.

Shoot 7 This shoot consisted of taking portraits of an old friend, Callum, who has been in my life since my mid teens. We used to be close but, as time went on, we both grew apart. Seeing him for this shoot allowed me to realise how easy it is to reconnect with old friends, especially those whom you have not interacted face to face with in such a long time. For this shoot I told him to dress casual and wear whatever he feels comfortable in and due to not seeing him for such a long time, i had no idea he would have a mo-hawk nor dress so punkesque however, I feel it works in my favour. A large amount of people I grew up with appear with a more alternative background due to their interests, the way they dress etc. I feel like the project replicates me as a person aswell, they all have the same interests as me and I feel like i can strongly relate to those who I am taking portraits of.

Above are the two best shots from the shoot, in my opinion, as the majority of the others on the negatives were either over-exposed or fogged, which was a technical error I did myself. The top one shows a torso upwards close up shot of Callum with his face and torso within the shot and I chose to take it from a slightly looking upwards angle to create a somewhat dominating atmosphere to his personality within the picture.

The bottom image I chose to do a side profile of him also, to try and get his mohawk within it and, the side profile with my friend Niall worked in his favour so I felt like trying it for this shoot also. I feel like i should have used a smaller aperture however, which would have allowed there to be a greater shallow depth of field. The blurred background would have made Callum appear much sharper in the shot. I have also not got him completely in the central focal point and his feet have been cut off which, I am unsure if I completely like.

If I was to redo the shoot I would have double checked the exposure for most of the shots were right so more of them would have come out and I had more of a selection of portrait’s to choose from. I need to decipher whether ot not one/two of these shots will go well with the other chosen portraits I have of my other friends. Callum is a friend but does stand out in comparison to the others who I have shot along with the angles also. I will need to print our a selection of portraits and rearrange them to understand whether or not his portraits will go with my other shots I have taken, in my opinion.

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