The Object & The Body- Review

The Object
My final concept for the first part of The Object & The Body project is too create a still-life that represents vegetarianism and animal cruelty. The still-life is going to symbolise how natural it has become for society to eat animals that were once living without thinking about what pain the animal might have gone through. I want my image to have a very natural feel with the way the props are set out so it looks so it looks as if someone is about to sit down for a meal to represent how normal and natural it has become for people to eat meat. By having an animal skull on the plate instead of the food will shock the viewers and  will represent how the meat on your plate was once an animal. 

Keith Arnett

Polly Morgan

My idea developed from researching into traditional still life painters as they often include animals in there work to celebrate them. Many traditional still-life paintings also include skulls. I became interested in the idea of making something that is usually seen as ‘ugly’ into something ‘attractive’ as I wanted to show how eating something that was once alive and should be seen as an ‘ugly’ thing to do has turned into a very natural and normal act. The photographers Emma Hamilton and Keith Arnett both look at making something that is ‘ugly’ into something that we see as beautiful. Arnett’s series called ‘From a Rubbish Tip’ is images of rubbish that look incredibly beautiful because of the way they are lit and because of the softness of them. Emma Hamilton’s still-life images inspired me to give my own work a very seductive feel, her work is inspired by Dutch paintings from the 17th and 18th century and is of very ornate looking flowers that are actually made out of meat and animal organs. 


I was also inspired by photographer Polly Morgan as she places dead animals in unexpected scenarios which makes you notice the animals in a different way. The idea of placing an object somewhere that makes you look at it different appealed to me, my idea of removing meat from a plate and replacing it with an animal skull makes you think of the food in a different way and you start to wonder what it went through to get there. 

Emma Hamilton

Laura Letinsky

In my still-life I wanted the skull to appear dry to show the audience the animals beauty. I also wanted there to be a wine glass with deep red liquid in it to symbolise the blood the animal would have shed to be killed for the meat. The vibrancy of the red drink against the whiteness and simplicity of the rest of image makes the issue about animal cruelty stand out. In some images I had the knife and fork on either side of the plate to make the set up look as if someone is about to sit down at a table to have a meal. After I showed my negatives to the tutors and my peers and got feedback I decided to add more of a shock feel to my image by using fake blood. I placed the blood on the plate and on the ends of the cutlery, to make it look as if it has poured out from the skull. To make the liquid in the wine glass more vibrant and blood like I poured some fake blood into it. 


I also changed the placing of the cutlery and moved them on to the plate, by positioning the knife pointed towards the skull symbolises the pain the animal would have gone through in a very subtle manner. My research into other still-life photographers such as Laura Letinsky inspired me to use a white background as I like the scientific feel it gives the images and how it simplifies the photo so all your attention is on the issue the photograph represents. The lighting effect I wanted was very soft and delicate, to get this effect I used a very large soft box as I didn’t want any harsh shadows. The most challenging part of this unit was the printing, I found colour correcting to be quite difficult especially with trying to get no colour tones in the white areas of the image. However as I’ve practiced colour correcting my prints with my still-life images when it comes to printing my other work for the final submission it will hopefully be less difficult. Trying to compose the image was also difficult as I had to make everything in the image line up correctly  as my image was very simplistic so if an object was slightly out of placed it would have ruined the photograph.

The Body

For ‘The Body’ project I decided to create a portrait that looks very natural and intimate. The main concept of the portrait is going to be the models eye’s, from looking in to other portrait photographers I noticed how the eyes can reveal a lot about how someone especially how they are feeling at the time. The quote ‘eyes are the window to your soul’ inspired me for my portrait as I like the idea that eyes can reveal that much about someone. My portrait is going to capture a female model in a very soft and delicate way using diffused lighting to create an intimate picture and so the subject appears very natural. 

First I researched different portrait painters, I noticed how traditional portraits always have the models looking directly at the viewer which creates an intimate feeling this inspired me for my own portrait. Whilst I was looking at work by contemporary painter, Fatima Ronquillo, I noticed that in many of her paintings she included a small prop which was a picture of an eye inside a frame. From further research I found out that the prop is known as ‘Lovers eyes’, I discovered that it is when a picture of a loved one’s eye is put into an object such as a piece of jewellery or a frame as a remembrance of them. I found this very interesting as it is only the eye they carry round which made me realise how important eyes are as a lot of emotion is revealed from them. I began to look into photographers who focus on eyes in there portraits such as Jeanloup Sieff and Henrick Adamsen, by having the model look directly into the camera creates an intimacy between the viewer and the subject. From looking in to the works of Paolo Roversi I became inspired by the softness of his lighting and how his images have a 'honest' feel because of how diffused and even the lighting is. Paolo Roversi’s portraits inspired me on my lighting choice, I decided to use large soft boxes to keep the light diffused and to make sure it is even so it is similar to Roversi’s images. 

Henrick Adamsen

Jeanloup Sieff

Paolo Roversi

Lovers eye's

The portrait I have taken for ‘The Body’ project captures the model in a natural way with how I photographed her without any make up on and in a natural pose. By using very soft lighting adds to the intimacy of the photo as it gives it a delicate feel. The soft lighting makes the portrait appear more natural as it shows the model in even lighting. When I was taking the photo I had the model look directly into the camera to create an intimate feeling as it feels as if she is revealing her feelings to the viewer. One aspect of the shoot production I would need to reflect on is making sure the lighting was more even as the lighting on the background is more brighter on one side then the other which takes away from the soft feel of the image. I would also manage my studies better by doing more lighting test shots to make sure I get the lighting exactly how I want it as I found getting the lighting right the most difficult part of this unit. 

The Body- Final Print

Day of shooting

On the day I took portraits for 'The Body' project I changed my lighting plan as there wasn't enough resources for everyone to use. My final lighting plan was too use a white background which is being lit by a broncolor with a large soft box on it. I used a large soft box to spread the light more equally on the background and so the lighting looks more soft as it will be diffused. I used two white polyboard's to reflect the soft box's light back on to the background and so it doesn't go on to the model. To light up the  model I put a broncolor with a soft box lantern on to a boom arm, directly above the camera so it was lighting up the model equally. I rolled up the curtains on the lantern attached to the boom arm to allow more light to shine on to the model.

I used Ilford black and white ISO 400 film for the photoshoot as I want the pictures to be low in contrast to give a softness to them. I decided to use a medium format camera, I choose the Mamiya RZ with a standard lens as I wanted a portrait styled photo and I didn't want the square format created by the Bronica. When I was taking the images I had to make sure the light hitting the background was two F stops smaller than the light hitting the model. This means that when I was shooting at F16 the aperture of the light on the background has to be F32 and the light shining on to the model had to be F16 and when I was shooting at F5.6 the light on the background had to F11 which means the light on the model should be F5.6. This is so the background isn't more brighter then the model so the model stands out. Once the model was in position I noticed that there was shadows on the models shoulders so I had to position her further away from the background and closer to the light on the boom arm so more light was shining on to the model. I also had to position the light on the boom arm closer to the model as there was shadows being cast under her neck. I had the model pose in different ways that looked very natural to emphasise the soft feel of the picture. In some of the pictures I had the model show some of her skin on her shoulder to make the image appear more natural and honest, I also had her look directly in the camera to create an intimate feel.

Contact sheets
The first roll of film I took the negatives came out too thin. So when I took the next roll of film I increased the light intensity to make the portraits more brighter.

First print

I choose to print this negative from the second contact sheet I made. I liked the way the model was looking directly into the camera. The pose the model is in also made this picture stand out as I liked how her body was pointed slightly away from the camera but she was tilting her head round to look at the camera.

First I set the enlargers aperture to F8, I then applied the Grade 2 filter and made a test strip exposing each section for 5 seconds.

From the first test strip I made I decided I wanted to expose the whole of the next test strip for thirty five seconds. I kept the aperture and filter the same.  

The last test strip had some markings on it so before I created the next one I had to clean the negative. I decided to decrease the exposure time by five seconds as I felt the last test strip was too dark. I also decided to add another exposure using a grade two filter for five seconds on only the background and the models hair to add some contrast. I did this by using my hand to cover the models face and slightly moving it to make sure there was no hard edges.

I wanted to add slightly more contrast to the image so I used a grade three filter instead of a grade 2 for thirty seconds. For the second exposure I also used the grade three filter but kept the time the same. 

I wanted to experiment with the next test strip to see how it would look if I added contrast to it. I kept the first exposure thirty second exposure the same, but I decided to add another exposure of five seconds using a grade four filter. I still done the third exposure on just the background using a grade three filter for five seconds.

The last test strip I made was far too dark so I decided not to use the second exposure using a grade four filter for five seconds but I kept the other two exposures the same. I decided to make a full print this time however once I printed it I found that there was a mark on the negative which was coming through on the print. I also didn't like the lines on the models neck from where she is looking round at the camera as it gives the photo a forced feel and doesn't give the image the natural feel I was after. As I was not pleased with the final print I decided to print another negative.

Second print
I decided on printing this negative as I felt the model's pose looked more natural and didn't look forced. She still is in a similar pose to the first image as she has her body facing away from the camera but is looking around to the camera. I also liked the way she was looking directly into the camera.

As the image was very similar to the first negative I tried using the same exposure times and settings. I exposed the whole of the test strip for thirty seconds using a grade three filter with the enlarger's aperture set at F8. I then exposed only the background and the models hair of five seconds using the same grade filter.

I was pleased with the test strip so I decided to make a final print using all of the same settings.

The last final print I made looked too dark so I decreased the first exposure by five seconds so it was a twenty five second exposure instead of thirty. I kept all of the filters and the second exposure the same.

I decided to make a final print as I felt the image was the right exposure. 

The last image I made has a mark on the model's face so I cleaned the negative and then made a second final print. I'm pleased with my final print as it has a softness to it which is what I wanted to capture. I also liked the models pose as I felt she looked natural. I decided to add contrast to the models hair to make the photo stand out.

The Body- Lighting Test Shots

Digital Lighting test shots

My lighting idea for my portrait for 'The Body' project is too capture a soft and delicate feel. I'm going to use the same set up in this lighting diagram I made previously but for the test shots I'm going to use a digital camera. I decided to use a digital camera for the test images so I can easily see the results of the lights and how I need to change them to improve the image.

This is the lighting set up I used for the test shots:

The lighting set up included:

- A boom arm with a broncolor covered by a 'lantern' with rolled up curtains

- White background

- 4 polyboards

- Two broncolors with spill kills

The camera setting's on the digital camera were IS0 100 and the shutter speed was 125th of a second. The aperture on the camera was F8 whereas the aperture of the light from the key light was F11 and the background was F5.6. I had to make sure the aperture of the light hitting the background was two stops darker compared to the light hitting the model.

For the first picture I felt the background was too bright and the lighting was too harsh which didn't give the photo the soft feel I wanted it to have.

I decreased the lighting that hits the background to give it a more grey colour tone to it so it isn't as bright  I felt the lighting was too harsh on one side of the subjects face which cast shadows on the opposite side.

I moved the lantern light on the book arm slightly higher so it was directly above the models head, however this created shadows underneath the models chin.

In the previous pictures I felt that the lighting was too harsh so I added some diffusion material to soften the light so it looks more even in the picture. I also rolled up the curtains on the lantern attached to the boom arm to make the lighting appear even and soft as it spreads the light out more.

For the final image I lowered the boom arm slightly to soften the shadows under the subjects chin to make the photo appear more softer. I'm pleased with the lighting effect I created for this image as it has a softness to it and a delicate feel as there is no harsh shadows. I'm going to use this lighting set up as my final photo because of how even the lighting is.

The Body- Final Idea

My Final Idea

My final idea for 'The Body' project is to create a very natural portrait, I want the image to appear very honest so I'm going to use soft lighting to emphasise the natural theme of the portrait. I asked a student at UCA on the Fashion Atelier course if I could take there photo's, the model I choose has very natural look as she has curly natural hair. My main inspiration came from portrait photographers who capture there subjects in a very intimate way such as Paolo Roversi and Richard Avedon, in portraits by these photographers they mainly focus on the eyes. By having the subject gaze into the camera creates an intimate feel, I was inspired but this so I'm going to have my model look directly into the camera. I feel that eye's can tell a lot about how a person is feeling, the quote 'eyes are the window to the soul' inspired me for my portrait so I began to research into photographers that focus on eyes in there portraits.
I came across photographers such as Jeanloup Sieff and Henrick Adamsen as in  there portraits they focus on the eyes, they mainly do this by composing the image so the eye is centred in the frame, I found this technique effect so I'm going to use it in my own portraits. To create a soft feel in my image I've decided to use a Black and white film with ISO 400 so the portraits will be low in contrast.






Lighting idea

My idea for the lighting in my portrait is very soft and delicate. My main inspiration for the lighting is photographer Paolo Roversi, I love the soft and romantic feel that is created by the lighting he has used. I like how the lighting is equal throughout the whole image which adds to the softness of the portrait.
To create a similar lighting effect I'm going to photograph the model against a white background lit by two broncolors with spill kills reflecting of four polyboards. The model is going to be lit by a broncolor with a lantern in it attached to a boom arm so I can place the light directly above the camera so its facing down on to the model. When I take the pictures I will have to make sure the background is two stops smaller then the light hitting the model, I will also make sure the subject is not to near the background so the light remains even and there is no harsh shadows.

This is a lighting plan I made for my portraits:

The Body- Richard Avedon

Richard Avedon

Avedon’s portraits are very striking because of how well lit they are. The high contrast of them makes them look very dramatic which catches your attention. His images are famous for there simplicity and minimalism this is because he uses a plain background which keeps all your attention on the model. Avedon mostly only focuses on the models head and shoulders this adds an intimate feel to his images because of how close he is to his subjects. This also makes you feel connected with the models as if you know them because of the intimate feeling the pictures have. He photographs most of his subjects face on this helps to capture the subjects characters because of the intimate feeling there is from the way they are looking straight into the camera. Avedon’s portraits manage to capture the subjects personalities because of there intimacy and how he photographs them very natural. Richard Avedon’s portraits have inspired me for my project ‘The Body’, in many of his images the main focal point is on the models eyes which is what I want the focal point to be in my own portraits. I also like the natural feel his images have and how he uses plain backgrounds so all you attention is kept on the model. I’m going to use similar techniques so I can capture the subjects personality. 

Avedon has used a long shutter speed for this image which has created a blurred effect on the hair where it has moved. By using this technique Avedon has given this image a soft feel to it which adds to the intimate atmosphere the image has, the movement in the hair makes you feel as if you are there with the model as the hair looks realistic. The models eyes attract your attention with the way the model is staring straight in to the camera . The eye contact makes you feel as if the subject is looking right into you which again adds to the intimate feeling of the picture. The lighting in this image is high in contrast, the dark shadowed areas under the face contrast against the highlights on the skin and hair. Even though the image is high in contrast it still has a softness to it because of how the subjects skin is illuminated. The way the skin is lit up gives the model a very vulnerable feel as the light look as if it is revealing her to the world.

The two images above are very similar as they both have a very intimate atmosphere. Avedon has used lighting that gives the skin a softness, however there is still some shadows which makes the images stand out as it adds contrast. By lighting the image so the skin looks very soft makes the subjects appear very vulnerable as there skin looks very delicate. Vulnerability is also represented in the first image below by the pose the model is in. She is posed with her arms wrapped around her body as if she is shielding her self this also makes her look very delicate. I found this pose to be really inspiring for my own portraits as I feel it captures a sense of fragility and makes the image look very delicate which is the feel I’m after. In the second image the subject is photographed from above her shoulders, this makes her appear very confined as if she is stuck in the middle of the portrait because it looks as if her hands are stuck by her sides. By having the images composed with the subject in the centre of the frame makes them appear as if they're trapped in the image and makes them appear very vulnerable. In both of the portraits it looks as if the model’s are wearing no clothing, this also adds to the delicate feel of the images as you can see the fragility of the female body. These two images inspired me to reveal parts of the models body in my own portraits to capture the same sense of delicacy and fragility. 

The Body- Portraits that focus on the eyes.

Photography Research- Portraits with eyes as the focal point

I decided to look into photographers that mostly focus on the subjects eye's in there portraits for inspiration. I looked at many different types of portraits to see how each photographer makes the eye's stand out. From my research I noticed how many of them compose there portraits so the eyes are centered in the image which draws your attention to them this is a technique I’m going to use in my own portraits. Portrait photographers also get there model to stare straight into the camera which adds an intimate feel, I’m going to have my model look into the camera to capture the same effect.

Jeanloup Sieff
Sieff’s work has a very intimate feel, his portraits capture the personality of the subjects he photographs. I decided to research into Jeanloup Sieff because of how he uses the subjects eyes as the main focal of his portraits which is what I want the main focal point to be in my images. The way the models look into the camera make you feel connected to them as you feel they are looking at you. Sieff uses a close up camera angle with her portraits which gives the portraits and intimate feel as it feels like you’re becoming a part of there personal space. These portrait images have been taken at eye level which makes you feel connected to the subjects as you are at eye level with them.  By photographing people in a very simplistic way such as having no props and only photographing the head and shoulders gives the images a natural and honest feel as you feel as if you’re seeing the real them. The lighting has a softness to it because of how it illuminates the skin however there is a harsh contrast between the shadowed areas and the highlights which give a dramatic effect to the photo’s. Jeanloup Sieff’s portraits have inspired me to use a close up camera angle for my own portraits to help capture an intimate feel. I also like the way he has composed his images so the subjects eye is centered almost in the middle of the frame, I’m going to use this technique to make the eyes the main focal point like Sieff has. 

Hendrick Kerstens
Kersten’s styles her images like traditional Dutch portraits. When speaking about her images she said, "I take someone today with modern tastes and portray her in the style of the 17th century masters. It's a way for me to shake up the concept of time". The concept of time is represented in her work by the way she styles them like Dutch portraits and then uses modern themes such as environmental issues. In the first image below she was inspired by the excessive number of bags being used when she went to New York, to capture this social issue she has dressed her model in a plastic bag which acts as a head piece. The eye’s in her portraits are one of the main focal points as she photographs her images at eye level. By photographing the portraits at eye level makes you feel more connected to the subject as it adds an intimate feel to the images, this technique inspired me for my own work as I want to make the eyes the main focal point in my portraits for ‘The Body’ project. I was also inspired by the simplicity of her images, having the model against a plain background adds to the intimacy feel of the photo as well as all your attention is kept on the subject. Kersten has only photographed the subjects head and shoulders this makes you feel more closer to the model and creates a very intimate feel. The way the model looks right into the camera draws your attention straight to her eyes this is another technique I’m going to use in my own images as it makes the eyes stand out. The lighting on the models face is very soft, by having no harsh shadows on the subjects face gives the photo a very delicate feel as there is a softness to it. Contrast is created in the image from the white bag on the models head and the dark coloured background and clothing, this gives the image a dramatic feel which makes it stand out.

     

Anton Corbijn
Anton Corbijn’s work most focuses on the subjects eyes. His work is very powerful because of how the models are staring straight into the camera. I looked at this photograph by Anton Corbijn because of how the eyes are the main focal point. This portrait is high in contrast which gives it a very dramatic feel and makes it catch your attention. The contrast between the whites of the eye, the subjects skin and the iris‘ in the eye makes the eyes stand out. The subjects pose adds an mysterious atmosphere to the photograph because of how he‘s covering his mouth, it also adda vulnerable side to the image as the subject looks scared. By having the model looking straight into camera gives the photo a intimate feel as it feels like he’s looking straight at you. This image has the same focal point that I want my portraits to have for ‘The Body’ project. To capture the same effect I’m going to use Corbijn’s technique of having the subject looking straight at the camera.

Henrick Adamsen
These two images by Henrick Adamsen have a very intimate feel to them because of the close up camera angle he has used. By using an extreme close up Adamsen has made you feel as if you are in the models personal space which makes the subjects appear very vulnerable as they are being revealed in a very honest way. A delicate feel is created through the poses the models are in both of the photos show the subjects with there hands against there faces, this makes them look as if they are trying to shield themselves. Adamsen has photographed the models staring straight into the camera which adds to the intimate feel the images have because you feel a connection with the models as it seems that they are looking straight at you. The lighting used in both of the portraits add to the delicacy, as it is very soft and there is no harsh shadows on the models faces. Vulnerability is also shown through the lighting Adamsen has used because of how shadows start to form around the models faces this makes the model appear alone in the image. I choose to research into Henrick Adamsen’s portraits because of the way he makes the subjects eyes the main focal point which is what I want the focal point to be in my own portraits for ‘The Body’ project. His work has inspired me to use close up camera angles to capture the intimate feel I want my images to have. 

Erik Lee Snyder

When you first look at this photograph the part the stands out the most is the eyes. The photographer, Erik Lee Snyder, has made them stand out with the composition he has chosen. By positioning the subjects eyes so they are in the middle of the frame makes you notice them more and makes them the focal point of the image. The way the model is staring directly into the camera adds an intimacy to the image as you feel they are looking at you. Intimacy is also created in the photo through the close up camera angle Snyder has used, this makes you feel connected to the model on a personal level as you are so close to them. Snyder has used a shallow depth of field as the main area that is in focus is the front of the face, it begins to lose focus around the ears and neck. The large aperture used means all your attention is focused on the models face. Snyder has created a very simplistic atmosphere in his image by using a plain background and by only photographing the models face. There is no harsh shadows in this image which adds a softness to it, the lighting looks very diffused because of the low contrast. I want to capture a similar lighting style in my own portrait as I feel the softness adds a delicacy to the image. I also was inspired by Snyder’s camera angle and camera positioning. By taking a portrait at eye level makes you feel more intimate with the subject, I’m going to use this technique as well as a close up camera angle to add even more intimacy. 

Man Ray

This image is very iconic because of how the eyes are expressing a lot of emotion in this portrait. The eye’s in this portrait are showing a lot of emotion which adds an intimate feel to the photo as you feel as if you are connected with the model. Ray has used a close up composition which adds to the intimate feel as it makes you feel closer to the subject, I’m going to use a close up camera angle in my own portraits to capture the same effect Man Ray has. By using a close up camera angle Ray has kept the rest of the image to your imagination, you start to wonder where the model is looking and why is looks upset. The model appears very vulnerable with how she is looking out into the distance as if she cant bear to look into the camera. Gem’s have been positioned on a models face to act as tears, this makes her look very delicate and vulnerable.

Steve McCurry

Steve McCurry’s portrait ‘Afghan girl’ is a very popular and well know image. The photo was taken in a Refugee camp in Pakistan whilst the girl was at school. The subject’s eyes are the main focal point in the image, they look very haunting with the way they are staring into the camera. Her eyes symbolise the tragedy of the war that was happening in Afghan because of how scared and haunted they look. McCurry has compositioned this image so the eyes are centered in the middle of the photo this draws your attention to them and is a technique I’m going to use in my own portraits to make the eyes the main focal point. A shallow depth of field has been used to make the background out of focus so all your attention is kept on the model. By photographing the models shoulders as well as her face means some of her clothing is revealed. Her clothes have rips in them and look dirty in some places which shows she has been living in a tough time and is being neglected. The lighting used looks very natural and soft because there is no harsh shadows which makes the subject appear very vulnerable and delicate. To get the same effect I’m going to use similar lighting but make it even more softer.