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Final Images
Final exhibition
Final exhibition
Photography Theory Terms
Found
Represented
Ideals
Mechanical Device
Truth
Still
That-has-been (fact)
Presence
Independent
Made
Constructed
Materials
Human agency
Lie
Temporal
Unreliable
Absence
Relational
For my second final image, I have chosen this photo by Andres Serrano. The image is taken from his series of photographs 'The Morgue'. They investigate the idea of death and our relationship with it. I chose this particular image as I particularly liked the way in which the light interacts with the subject and their veil it is reminiscent of Italian baroque painting.
In order to create this shot I used a large overhead softbox set to F16, which was directly over the subject; placed lying down on a table. I did this to create a hard-ish glow over the subjects face. It was placed directly above the model to avoid any shadows being cast on the face. I used the black backdrop to mimic the same as Andres Serrano's.
The framing of the photo was taken crouching down directly in front of the subject, with the subjects chin marginally cropped out, encouraging my models facial expression to be kept to minimal and using the original image as reference. All images were taken on manual exposure, F16 and the shutter speed at 1/125.
During editing, I cropped the frame down slightly to ensure it was as close to the original images framing as I could effectively achieve. I also slightly straightened up the image on Lightroom, to create the same angle of the subject. I then experimented with adjusting the reds in the subjects skin and adding the slight affect of slight blur on Photoshop.
Over all I feel this was a successful echo, however, if I re did the image in the future I would ensure the cloth was evenly distributed and falls straight down as it does in the original image.
Yousuf Karsh
Yousuf Karsh was an American-Canadian portrait photographer. Karsh was particularly talented with and was a master of studio lights. One of his distinctive practices was to light the subjects hands separately. For most of his career he used the 8x10 bellows Calument camera.
Karsh had a gift for capturing the essence of his subject in the instant of his portrait. As Karsh wrote of his own work in Karsh Portfolio in 1967, "Within every man and woman a secret is hidden, and as a photographer it is my task to reveal it if I can. The revelation, if it comes at all, will come in a small fraction of a second with an unconscious gesture, a gleam of the eye, a brief lifting of the mask that all humans wear to conceal their innermost selves from the world. In that fleeting interval of opportunity the photographer must act or lose his prize."
Echo no.1
This is one of my final images I chose to re-create for our 'echo project', I have chosen this image of Audrey Hepburn, taken by Yousuf Karsh. Yousuf Karsh has created many iconic portraits of famous figures. I chose this portrait as I liked the simplicity and elegance of the shot.
To re-create this shot I lit the background with two medium softboxes in order to create a flat even light over the white background. My key-light was small a beauty dish placed behind the camera to light the subject. The beauty dish was set to F8, which gave a hard-ish light over the models face. I positioned it as high above my head as possible, at a 45 degree angle. This helped create the shadow which is visible below Audrey Hepburn's left ear. The light over the subjects face therefore is relatively soft but with well defined shadows under the ear and the chin.
To frame the shot I had to crouch a little and shoot looking upwards towards the subject, I positioned the subject at around a 45 degree angle away from the camera, encouraging my models facial expression and using the original image as my reference. All taken on F8 with a shutter speed of 1/125 and ISO at 100.
During the editing of the image I used Lightroom and Photoshop to erase the models nose-ring and earring. I also used Lightroom to increase the highlights on the models hair and cheekbones.
Overall I feel this was my most successful image out of my two echos. I feel I have effectively re-created the lighting and the model represents Audrey Hepburn very well.
Task one - Echo two
Richard Avedon - American West
For this task we were given different influential and famous portraits to analyse the techniques used then attempt to recreate the image.
The second photo we did was a portrait by Richard Avedon taken from a series called ‘In The American West’. These photos were taken outside using natural light with a north facing building as the backdrop however we attempted to recreate this same effect using soft light in the studio.
For our group version of this image we used two medium softboxes, both close in either side of the camera. They were just above the height of the camera so that the light looks down on the model very slightly. The light on the right hand side of the photographer was the key light and was slightly stronger in order to give the slight shadow on half of the face. The key light was set at F8 and then the other was set just bellow to reduce the light on half the face. The camera was then set at half a stop below the key light to make the image slightly over exposed. The combination of the 2 softboxes was a very soft light that gave the impression of daylight.
We then added in a third light on the white backdrop to ensure that it was blown out meaning it was fully white with no detail or dirt.
Lighting Quality - Soft Lighting Type - Flash Directionally - On to backdrop Colour Temp - 5500 %K Exposure - Right hand light stronger
Camera Type Film - Large Format Lens - Standard Point Of View - Low Aperture (DOF) - F22 Shutter Movement - Tripod 1/60 Exposure - Slightly Over
Mise en Scene Size Of Subject - Big Position Of Subject - Central Pose Orientation Of Object To Camera - Direct To Camera Horizon - Straight Props - Bees / No Clothes Background - Plain White Focus - Subject
Task one - Echo one
Robert Mapplethorpe - Lisa Lyson
This was our first image that we were given to practice re-creating. The photo is by Robert Mapplethorpe and shows female body builder Lisa Lyon.
For this photo we used one medium soft box high up on the right hand side of the photographer in order to give a shadow around the body. We struggled with this photo as the studio wasn't quite spacious enough to get far enough away from the subject to shoot the full body portrait. We could have resolved this by moving the model closer to the backdrop, however this would then disrupt being able to use the inverse square law to give a grey backdrop.
We needed most of the light to have faded before it reached the backdrop meaning that the under exposed white would then come out grey. To ensure that the model fit of the backdrop the photographer had to shoot standing on a chair to look down. This solved the issue but meant that the bottom of the backdrop wasn't at the same level as the original photo.
Another problem we came up against was that the model found it difficult to hold the correct pose. However, I feel eventually we got there.
Lighting Quality - Medium Lighting Type - Flash Directionally - One Light From The Right Number of Lights - One Exposure - F8 on Key Light Keeping light away from background to make it grey. Camera Type - Film Lens - Standard Point Of View - Low Aperture (DOF) - F8 / No Blur Shutter Speed - 1/125 Exposure - Under Mise en Scene Size of Subject - Big / Fills The Frame Pose - Twisted / Side On Horizon - Straight / Backdrop On Bottom Straight Props - No Clothes / Long White Sheet Focus - Subject and Background
The Echo Workshop - "Steve Jobs" by Albert Watson
The lighting setup for this shot would have been fairly simple. The key light being a white umbrella at F/32 high and six feet to camera left. Two umbrellas set at F/16 1/2 ( -1 stop) are placed behind the subject to the left and right. This evenly lights the background and removes any shadow there.
The Echo Workshop - "Michael Kane" by David Bailey
The subject set to F/11, two soft boxes both set to F/11 to get F/16. Another softbox 45 degrees to the subject to get the shadow on the left side of the face.
The Echos Workshop - "Small Trades" by Irving Penn
A dark material backdrop used. One large softbox used to light the model set at F/11.
The Echo Workshop - "Sir John Hershell" by Julia Margaret Cameron
A modelling lamp used as a light source rather than firing the flash on the subject. A long shutter speed has also been used in order to create the slight motion blur.
The Echo Workshop - “Lee Friedlander” by Richard Avedon (May 2002)
The set up for this image is quite simple, using one light directly in front of the subject with a fish fryer attachment in order to create the flat & even lighting. With 2 white boards/reflectors (one either side of subject) to further enhance the flat lighting. 3 lights.