- Tape all the loose cables down on the floor, this is because anyone could trip up over them, whether this is a model, the photographer himself or anyone whose helping out.
- If you are going to be doing a full length portraits, then you will be need to be taping the backdrop down onto the floor, to stop any falls and trips happening.
- Do not touch the bulbs if its on, as it will be very hot (if this has been on for a very long time)
- Do not remove the soft box or the umbrella from the light as soon as it has been turned off and left for ten minutes, as this will give the bulb the chance to cool down.
- No drinks in the studio, in case of any spills.
- Only leave the light on for half power in the studio.
- Put the switch up for the mains, down for the battery power.
- Ensure the stand is not touching the floor so it will be more study.
- Always point the lamp in the same direction as one of the legs on the stand.
- Ensure that the caps is off when you turn the light on, to release the cap, pull the switch back on the side of light and twist the cap until it comes up.
- Wrap the wire around one of the legs to again prevent any trip hazards.
Today we learn the difference between the different techniques in a studio. The things that you can find in a studio are different colour backdrops, studio lights (soft box), a studio strobe light as well as a canon camera. To achieve the possible light position we got give a cheat sheet which is down below, this sheet helps us get the correct lighting outcomes.
As its only visible light in the above image, they’re many different angles that you can have to position the light to get different lighting effects. The first images starts with a shadow behind the model, the way to achieve this effect is to place the lights behind the model and higher then the models head, this will create the shadow that needed to be there. To achieve the model with the whole of the face lit up with light, would be to place the lights in front of the model and facing the model. This will create a shadow behind the model but it will have the face completely lit up.
Overall, I thought this was really hard to getting the other images like the middle columns this was because I kept getting the lights in shot.
In this blog post I will attempt to explain how to change the effect to black and white in photoshop.
- Firstly, choose your image that you would like to edit then open your image into photoshop (which should be a RAW File). A RAW file is unprocessed data. This mean the file has not be compressed, altered or manipulated in a way by the computer.
2. Then, click the adjustments button in the bottom right-hand corner, then click the button which says solid colour layer.
3. Next you need to change the blend mode of the solid colour layer from “Normal” to “Colour”. This will now change the picture into black and white. The reason why we do it this way is so that all the details in the RAW file are kept in the photograph as some of the ways to turn the photograph into black and white loose the original detail from the RAW file.
4. Next we created a curved layer which you can adjust the highlights and shadows by making a curved shaped like a S. We did this by moving the shadow line downwards and moving the highlights line upwards.
Rankin is a very famous British portraits and fashion photographer. I watched a video by Rankin which showed me different photographs that have changed fashion. He took the most famous 7 photographs that have changed fashion from the years 1930 and tried to re-create these photographs but with his own little twists.
He stared off with the photograph called the “Hat Box” which was taken in the 1934 with the model Elsa Schiaparelli. He wanted to create this because Rankin said how he liked how all the attention was on the hat and not on anything else. He had recreated this with the model Sophie Ellis-Bexter. He didn’t use an 8 by 10 camera like Beaton as it would have taken him 20 minutes to take one photograph, so he decided to use DSLR camera.
I don’t really like this recreation because when you do a recreation you are meant to copy every little bit of detail, but he has kind of changed it to his own style with a little bit of inspiration from Beaton.
This is an image for a vogue cover in the 1950s with the model Jean Patchett. Rankin decided to have Heidi Klum as his model for this kind of shoot. With the original photograph Blumenfeld had to erase the majority of the facial features but leaving the eyebrow, eye, lips and the beauty spot. Blumenfeld then painted the lips redder and added more eyeshadow to create more of a dramatic look as they didn’t have photoshop back in the 1950s. Rankin decided to keep the nose in his recreation to make it more 21st century and shows that photography can be fun and enjoyable.
This image is called “Dovima with Elephants”with had two elephants with a beautiful model stood between the two animals. This photograph was taken in Paris in August 1955. Avedon thought this photograph prompts the idea of Beauty and the Beast. The whole point of his photograph was to show off the new collection od the Dior clothing range.
Rankin’s photograph looks completely different to Avedon’s work because in the recreation version the model doesn’t look very uncomfortable with the animals whereas the original looks like the model doesn’t care at all. (Avedon’s work is on the left and Rankin’s photograph is on the right)
The fashion image was changed and transformed when David Bailey got his hands on a camera in the 1960s. Rankin thinks that Bailey is the perfect fashion photographer to this day. Bailey was very famous for taking a lot of photographs of his girlfriend Jean Shrimpton.
Baileys photograph was shot using a Rolleiflex camera so Rankin decided to use the same camera also. However Rankin ended switching back to a DSLR because he wants to see the difference between the two cameras.
Richard Avedon was an American protrait and fashion photographer. He took most of his photographs of things that he was afraid of, for example images of his fathers death. Today his images are everywhere and people still use them to this day.
Richard Avedons career started in 1946 in Paris, he began a contract taking photographs for a department store.
One of his most famous photographs was a woman laid naked on a white cover with a snake wrapped around her body covering her private parts and with the snakes tongue touching her cheek.
I really like this photograph because it’s different to any other photography that he has done before. This photograph sold over two million copies just because it was so different to his work that he has done before. This is what makes Richard Avedons work so unique and different.
Another thing that really stood out to me in the video that we had watched was he decided to photograph his fathers death (when he was in his last stages of cancer) as he felt like he never really had a father so he felt guilty for this and decided he should show some respect by dedicated this piece of work to him.
He had a series of photographs of his father dying which was really different to any other photographer in this period of photography. I don’t really know what to think on this kind of work he had done. The reason why is because it’s interesting to look back at and remember some that important but you don’t want to remember them dying but instead you want them to remember them for enjoying life and making things and your life happy and not sad and depressing.
The last thing that I found interesting from the video we watched was he photographed Andy Warhol torso in 1969. He photographed his torso because he had scars from a shooting previously before this actual shoot. This is a really interesting photograph as it’s not something he would normally take photographs of as he normally all about the models that are so beautiful with not a single spot on their faces, long legs and long silky hair. At first people didn’t tknow how to react to this photograph as it was completely different to his normal work in fashion photography, this is what makes Avedon really good and remembered photographer.
- Dark Room
- 1 litre of Developer
- 1 litre of Stop
- 1 litre of Fixer
- 2 litres of Water (For the wash bath at 20 degrees)
- Couple sheets of photographic paper
- Objects that are interesting to photograph
What to do:
- Firstly, you would want to set your enlarger to the right amount of light that is showing over your sheet of paper, so all of the object is photographed.
- Then you would want to place the sheet of paper on the side, and place the object on the paper to be ready for the light to be shined and taken the photograph.
- Next, you would want to press the timer going which should be set in between five to seven seconds. (Once you have taken you first photograph and it has been developed you can then see if the time needs to be alter.)
- Once the timer and light has gone off, place the water in the developer for 30 seconds or whenever its fully developed.
- Then place the paper into the stop for 30 seconds.
- Next place the paper into the fixer for five minutes, this is important that you leave the paper in the fixer for five minutes because if not the paper will start to turn pink and start to fade away.
- Once the five minutes is up you can put the paper into the wash bath for 20 minutes, this gets all the chemicals washed off.
- This now means you can take the paper out of the dark room and put through a dryer so you can now show off you work.
A contact sheet is all the negatives you have taken from your film with the 35mm camera.
How do make a contact sheet?
Today we processed contact sheets, we did this is a dark room using a negative carrier and a enlarger. We placed the negative film onto the light sensitive paper which was placed inside the negative carrier, so then we closed the negative carrier lid, and set the enlargers timer to one second.
We held a piece of black card over the first section for a second, then we would move the black card onto the next section for another second. Do this until every single section that has finally been exposed to the enlarger’s light. This contact sheet won’t be the real contact sheet as don’t think I got all the right exposes right when I took the photographs on the 35mm camera. So this is a tester, to see how long the photographs need to be expose for.
After they’ve been exposed to the light we developed them, just like we did with pinholes and photograms. First we put the photographic paper in the developer for 2 minutes with slight wave motions. Then we put the paper into the stop for 30 seconds again with the slight wave motions. Finally we put the paper into the fix for 5 minutes, this is important that we put the paper in for at least 5 minutes as if we don’t the images will start to turn pink and fade. Once the five minutes is up, its time to put the paper into the wash bath which is just water for at least 20 minutes so the chemicals can get washed off the paper and not fade away.
The reason why we did a tester contact sheet first is because it saves paper and would cost that much money as were only wasting one piece of paper, whereas if we didn’t do the tester then we would be wasting more sheets of paper and wasting more money, as its like one pond for one sheet of paper.
Once the contact sheet has been left in the wash bath for 20 minutes then you can take the paper out of the dark room and see what was the best exposure was the best, like does it need to be under the light for 6 seconds for 1 seconds. Once you know what how long it need to be under the light you can now do it again and get a proper contact sheet.
Overall, I didn’t really like pinhole photography as the first couple of shoots my photographic paper turned straight to black due to me either holding my finger off the hole too longer or there was light getting into the tube another way. Apart from that the ones that do work I really did enjoy doing it.
If I was to do this again I would know how long to keep my finger off which is five seconds if its bright and 10 seconds if its a little bit darker then daylight. I also now know that you only leave the photographic paper in the developer for at least 15 seconds maximum as it could over developer and look really dark or even turn black if left too long.
Overall, I really enjoyed doing the photograms as I didn’t need any help from anyone as its really easy and simple to do. I think I got quite a few good ones and some okay ones as there are marks on them but I can learn from this next time.
If I was to do photograms again I would change my timings when I was developing them as I did develop a light bulb and some little stones a bit too much as they’re really hard to tell what they are as its so dark. I would also change my timings in the fixer as some of my photographs are starting to go pink as I didn’t leave them longer enough in the fixer, but I can learn from this next time.
Overall, I think the film camera was pretty simple and easy to use, apart from putting in the canister and actual put the film into the camera so its ready to take some photographs. One thing that I found quite easy was taking the photographs and actually developing my film. Although another thing that I found quite hard was when I had to roll back the film into its canister as I didn’t really know when the film was back into the canister and was ready to come out of the camera and not be destroyed from the daylight.
If I was to use the 35mm camera again I would take more landscape photographs as I did with my first bunch but most of them were blurry or not in focus correctly. As well as taking more landscapes, I think I should take more photographs but include more formal elements of photography, for example the rule of thirds.