Object and Body Critical Appraisal

Object
I did enjoy my object shoot and i am happy with the end result. I feel after my last assessment I sill have room for improvement. I did struggle with he composition of the objects i used and ended up trying to reinforce my concept of teenage pregnancies into the shot. Maybe if i had made it simpler it would have been easier to read  by the viewer and also understood. I think as i was new to the course i was still experimenting and struggling with the resources we were given. In future i need to get on with the work at hand and prepare for the shoot properly to avoid loosing time. I would of liked to re-shoot my Object but really struggled for time because of the re-shoot of my Environment Unit, again preparing and planning better in future will help me greatly.


Body
I really enjoyed doing this Body shoot and i am pleased with the end result. I found coming up with a strong concept my hardest battle in this project but i feel the photo shoot ran smoothly and ended well with numinous photographs to choose from. I feel that the run up to the shoot was very stressful and i did feel the tension of the other projects on go at the same time
My final image i am so pleased with, i now have many ideas to other portraiture projects that will come in the future and i feel as if this shoot has made me more confident with portraiture photography. My concept focusing on the way in which mothers put their children first at all times and researched into artists which eventually lead me to a stronger concept. I made sure that 'summer' 18 months old would be well lit safe and focused on, i am very happy with the final print and made the effort of printing off Summers mother Elayne a copy in which she was over the moon with. I am pleased with the final outcome.

My body shoot -

Summer - final chosen photograph

i definitely feel as though my shoot went as well as it could have gone. The day begun really well getting to the studios early my assistant an i were able to get to the shop and managed to get most of the equipment we needed. Within the first hour i had already learnt that our tactics were wrong as we then struggled to get the studio ready as the equipment like poly boards and C-stands had already been taken. After searching we did find ways to make up for the lack of amount of equipment in the studios.

Equipment used:
- Camera - RZ Standard
- Gloves
- Clamp
- White Backdrop
- 2 Broncolor Lights
- 2 Fill lights
- 2 Power packs
- Sync Lead
- Exstention Lead
- 2 Cable covers
- Large Background Stand
- 8 Poly boards
-Duckt tape

As for the poly boards we managed to find the amount we needed in other studios and by using duckt tape we managed to create duckt tape hinges to secure my set. I was really surprised in the amount of equipment i used for my set, i ensured that cable covers were used to eliminate the risk of tripping also. My set quickly becoming the biggest in the studio, I made sure we set up opposite the door so it was easier for the mother and her little girl to come straight through.
My model Elayne and her 18month girl Summer were due to arrive at 2.00pm but didn't get to the studios till 3.00pm. After phone calls it proved that the distance she was travelling made it harder for her because of the traffic and unfamiliar roads.
The shoot probably took around twenty minutes long and i used two rolls of film to capture Elayne and Summer and also used another roll of film before the models arrived in which i took practise shots of my assistant to ensure that when they arrived i was ready to go.
The first roll of film i used was capturing Elayne and Summer together. Summer being so young i found it difficult to keep her attention longer than one minute which i had prepared for, i used milk chocolate stars to keep her entertained and hopeful throughout the shoot. Summer sat on her mothers lap while i focused on her character and personality.
The idea behind my shoot was focusing on the little one, the mother now being less important. The second roll of film i went for a completely different way of capturing my idea by taking Elayne out and having her stand behind me which immediately caught Summers attention. I could then get closer to Summer focusing on her eyes and expressions i was able to capture her with her personality as well as her cautious behaviour.
Summer began to get a bit upset which is when her comfort blanket was given to her, i managed to capture her with a slight smile and softness in her eyes holding the blanket close to her. The shot was my fourth to last image on that roll of film and i have used it for my final image.
I am really happy with my final image and although you can see a slight cut under her eye and a snotty nose it seems to have captured her enitlly how i was aiming to represent such a young girl. In future i have learnt that taking my time would probably of benefited me well in this shoot as i did feel a need of rush as i was concerned of the child's attention. In future also a packet of tissues would be a good idea, just incase my model has a snotty nose. I really am pleased with this image i feel it captures Summer's personality and is one to be kept by Elayne in the future. The mother n to being in the photo supports my idea as the whole focus is on Summer eliminating any distraction of her mother. Much patience was needed with this shoot and I'm happy with the end results.

Different set ups - workshop

Our Friday workshop started with three different sets that we in groups had to create. Below are my drawings of them:

Set one

Set two

Set three

Artists supporting my Concept.

After my Body Tutorial a couple of weeks ago i have been researching artists to try and finalise my idea/concept. Below are a couple of artists which have influenced my shoot, i will then go into further detail about my Concept.

Dorothea Lange 

Migrant mother, Nipomo, California (1936) Dorothea Lange

Migrant mother (alternative), Nipomo, California, (1936) Dorothea Lange

These two photo's are part of the 'Migrant Mother' series, the top image is also one of Lange's most famous photographs. These images were taken in the American Depression. By 1929 nearly eight million people in farm areas lived on the edge of subsistence. Farmers and sharecroppers were known to get hit the hardest, who worked land they did not own.

As the depression continued many people were forced to leave leave their holdings and move around the country searching for migrant work of any sort. In the 1920's Lange had been a successful portrait photographer, but faced with the depression she had began to record the unemployed and migrant workers drawn to the west by the illusory promise of work.

These photo's are an example of the hardships the mother is going through. The top image is specifically known due to the history of the Depression. The mother is looking away from the camera while her children rest on her, she is clutching a baby on her lap, with the expression she is giving she comes across as worried and scared. The young children looking away from the camera gives the image a sense of vulnerability, in this photo the children's faces are hidden which makes the mother the main focal point. Dirty and ripped clothes gives the viewer a image of the hardships this woman may be going through, it's as if the mother is looking at the struggles that lay ahead, trying to seek out the answers to her questions for her children's sake and future. When being a mother the focus of your life changes dramatically, the importance is now in your children. 

The second image is also a representative of the Depression and the hardships of the mother. Clutching her baby to her chest she looks away from the camera. Her facial expression seems to give this image a sadness that overwhelms the viewer when seeing the photo. 

The camera isn't as close as before which allows us to view her clothes and surroundings more easiy. These two photos really represent the hardships of what family's were going through at the time and are still a reminder to this day.

A Mother and her two children on the road, Tulelake, Siskiyou
County, California (1939) Dorothea Lange

This image is similar to Lange's Migrant Mothers, however the children are looking into the camera. The hardships are still captured on camera making it obvious with the messy windswept hair and dirt ridden clothes that things were not easy. The young boy sitting higher from his mother seems to be bare legged and footed. The low camera angle helps include parts of the background and her surroundings making it easier to see she is seated in a car with her children. The Three do not look anywhere near happy or hopeful of the future. I really like the composition of Lange's photos, a simple way of including her subjects with great detail in each photograph capturing this hard moment in time.

John Vachon

Children of farmer in the Ozarks, Missouri, (1940) John Vachon

I have chosen this image for the representation of the children, the similar look in the eyes of the children as to the other images i have chosen.The main focus is of the two on the right and the young baby in the arms of the child. She/he seems to be smiling but it looks as if it is a forced smile. The other children in the photograph, all in which have also been squeezed into the gap of the doorway are straight faced, a glum look upon them all. Close detail can be seen of the filthy feet, also the face of the young boy on the left is is incredibly dirty. The camera angle being the same height as the children keeps them the main focus of the image, no distractions of the background can be seen. This photo was taken a similar time as Lange's, during the Depression. The sternness and seriousness of the children suspect that they too find the times difficult.

Rineke Dijkstra

This image is one that i would never normally choose represent my idea, however i wanted to expand my research. Looking at this image Dijkstra has chosen to photograph this mother after given birth, the harness of the image gives the viewer an instant shock of the deliberate nudity. There is a slight trial of blood that runs done her leg, her baby clutched in her arms all suggest and represents the battle of motherhood to come. This mothers future is now her young child who's future is dependant on its mum.

'In the mid-90s Dijkstra photographed three women after they'd given birth. One was photographed an hour after giving birth, another photographed one day afterwards, and the third one week later. The aesthetic is the same: a single subject centered in a neutral frame. Here, though, Dijkstra is depicting the organic reality of birthing.
Traditionally, art has treated the birth process with more sympathy and adoration than honesty. Dijkstra shows the effects of pregnancy and birth on the body. She does it with empathy and restrained affection, but with a frank and candid eye. Pregnancy and birth aren't easy on the body. The beauty of motherhood is there, but it's not glamorised.'

My Concept/Idea
After researching properly and into more detail of Dorothea Lange's photos i have found that she truly influences my project and is the perfect way to portray my idea. I have managed to find a model who is a mother herself, for the shoot she had given me a particular time of day she could come into the studio as part of her daily routine is full of schedules and times. 
She's aged twenty six a married mother of three children and also works full time, i wanted to capture the hardships she has come across after becoming a mother. I will be photographing her and her youngest daughter. I want to capture the youngest being nearly two years old as the focus leaving Elaine my model in the background. I have never met Elaine before this project she is a stranger to me, living in Rochester she works in London along side my Dad who thought of her when i described my idea.
         The importance of motherhood is crucial and needs to be in the photo, but the child is the main focus. I would like to entertain the young child but not to the point of smiles, i need the mother to look stern and strong but in a way naturally rough. I need an exhaustion to shine through to enable it to become similar to Lange's photos. This may not be a Depression at the is moment in time but other struggles in parenthood come forward in any family, and it is this that i am trying to focus on.


Information from book named 'American Photographers of the Depression' - Walker Evans, Dorothea Lange and the FSA Photographers (Charles Hagen, Thames and Hudson)

Workshop - Using a 'Fill light'

So last friday we were able to repeat a similar use of technique the three of us rotating as the model, assistant and photographer. We were using a similar lighting to the previous workshop only this time we were able to practise using  a 'Fill Light' which is a light used to fill in the shadows, its not very powerful which is why it's perfect for this.
For this task we tried to represent a certain character in the photo's, these being:

- The Worker
- The Intellectual
- The Sales Assistant
- The Waitress/Waiter
- The Cleaner


Below are the shots i was able to capture, because of the late start and the long brief we only had time to capture three shots each. Mine below are of Christine:

Christine and using the 'Fill light'

Cleaner - F11 Shutter Speed (SS) 500
                5.6 Fill Light
               F11 Pack 7.3 - 5.6 Fill Light
Intellectual - F11 7.9 Pack - 5.6 Fill Light
Waitress - F11 Pack 8.2 - Fill Light 5.6

I am happy with the shots i managed to capture but i still think there is room for improvement. I do like the lighting of Christine reading the book, i think the focus point is in the right place and also the shadows are not too overwhelming. 

3 photo's 1 idea?

Bill Burke

Reverend William Beegle, Bellaire, Ohio

I’ve chosen this photo as I love the positioning of the Reverend and how the lighting falls upon him. The dark background helps keep him the focus as the viewer doesn’t get distracted by his surroundings. Part of a young girl can be seen, however Burke has kept his main focus on the reverend by keeping him central.

William’s body language is quite interesting, laid back approach with his hand on his hip, his belt buckle seems to be pulled to one side maybe to make it more comfortable when he sits.

This picture is a polaroid, it looks as if the Reverend wasn’t ready for the photo, either that or didn’t mind having it taken. The light is coming from his right side which helps light up his body.

Jane Bown

Samuel Beckett

This photo of the famous Samuel Beckett, known for his poetry is beautiful. It being black and white is one reason why i like this photograph. What attracted me to it in the first place was the sheer detail of Becketts lines in his skin, his wrinkles are like a map of his life. The fact that the background is black causes himself to be the only focus of attention. There is a slight representation of a brick wall on his left which suggests it was 'a spur of the momment' type photograph, there was no studio set up to have it taken. This alone creates such a better image as Beckett had no time to beautify himself.
The light and main focus is of Beckett himself, it looks as if it is coming from his right, it is difficult to see but I think there is a slight triangle on his cheek formed from the shadow from his nose. I love the detail in this.

Paul Strand

Young Boy, Gondeville, Charente, France

This photo taken by Paul Strand, it is supposed to represent youth, the light falls on the bridge of his nose and his forehead. This photo is representing the ‘here and now’ aspect of how the boy is living, his strong stare is almost intimidating to the viewer which puts you slightly on edge.
I really like the composition of the boy, he’s very centred and the camera position is quite close so the detail in his stern look is clear. Although the lighting seems to be quite soft, against the wooden door with his stare hardens the photo.
‘This artists world is limitless. It can be found anywhere far from where he lives or few feet away. It is always on his doorstep.’ 

(Paul Strand, from the Introduction to the ‘On my Doorstep’ portfolio, Orgeval, December 1975)

My idea

After analysing these images i found them by looking through 'The Photo book' from the library, i then found the artists books to see wether i liked the rest of their photography. These three photos have inspired me to take a photo of my model looking very stern and natural. I want my photo to send a message across to the viewer, i think for this to be a strong image i need to centralise my model.

Have her sitting in the centre of the screen, focus closely on her face but have her not smile, a strong but hard look across her face. I think the lighting should be quite balanced but soft. I want it to be clear and focused so maybe i will need quite harsh lighting. 

Body - Workshop on lighting the body

For this workshop we were shown how to light the body, what lighting fell on a person and how to make it harsh or soft. We were also told how to use 'the triangle' to hep us get a better lit photo, a triangle formed on the opposite side of the person face from the shadow caused by the persons nose. 

We worked in groups of three, all taking turns to be the model, the assistant and the photographer. Personally i found taking the photo to be the best part for the obvious reason of having full control of the shoot. I did find that starting as the assistant i was unsure of what the photographer was trying to get across and relied a lot on her instruction to how i could help.

Being the model was somewhat intimidating, I found that when i do have my proper shoot i know that the model is going to have to relax a little for a nice relaxed photo to come out, the last thing i want is for her to feel uncomfortable. When i was taking the photos, it was nice to have full control over the shoot, however i felt nervous knowing that any mistakes made will be entirely my fault, in a way i was hoping i wouldn't have any but now that i look back i'm glad i did as it's all a learning curve.

We were given the task of four feelings those being:

- Venerability

- Pride

- Intimacy

- Aloof

At first i didn't understand why we needed these feelings to take the photo, it really got my thinking about  how the lighting should be for each feeling and how i imagined that feeling to be portrayed. I kept moving the camera angles around, also the height of the camera and how the light effected everything. I even tried a full length shot but found the marked floor ruined it. At first i wondered why but now i realise how useful the workshop was, i look forward to my final shoot coming up in December. 

To get the photos i used Ilford Delta ISO 100 black and white film. Below is a list of each shot and what shutter speed and fstop i used for each one.

- Venerability - 1/8 sec  f2.8 8/10

                       - 1/8 sec  f2.8 7/10

- Pride - 1/8 sec  f5.6 6/10

            - 1/8 sec  f11

- Intimacy - 1/8 sec  f2.8 8/10

                  - 1/8 sec  f2.8 7/10

- Aloof - 1/8 sec  f16.2

             - 1/8 sec  f16.2

 Below is a Contact sheet of my photos from the workshop.

Final quick contact sheet

The dirt is on he paper not the negative, but for a quick print i think this is ok. Im disappointed that they all seemed to come out very dark however the circled 'X' one is my faviroute. The photo was representing Vulnerability and i thought i captured it. After discussing it with Jonathan i found that if her shoulder had dropped slightly it would have been a better photo. Also she is slightly disappearing into the background so next time i need to think about lighting the model properly. I fully enjoyed this workshop, i found my strengths and weaknesses and feel a little more confident when it comes to taking portraits. I'm looking forward to my shoot in December.

Body - a little bit of reading.

I decided to look into Portraiture by reading a book from the library called Portraiture, by Shearer West. It explores the history of portraiture to the present and how the meanings of the paintings and photos can be read by the audience. From reading this book, i have found that a portrait can be focused on the physical features of the person and can also represent the subjects social or artistic conventions. The photographer can use social class and looks to help portray the subject. This can help create character within the photo. All portraits represent something about the body and face, it also has a way of portraying ones soul and character though the image. 

 I ended up thinking that i should go straight to the beginning of the project and decide what i like about portraits, so i flicked through the book to find a photo i absolutely adore. I thought to develop and encourage my ideas for my Body shoot; it will help myself to understand what aspects of the image i like.

Jane Bown

52 Jane Bown, Samuel Beckett, 1976

This photo of the famous Samuel Beckett, known for his poetry is beautiful. It being black and white is one reason why i like this photograph. What attracted me to it in the first place was the sheer detail of Becketts lines in his skin, his wrinkles are like a map of his life. The fact that the background is black causes himself to be the only focus of attention. There is a slight representation of a brick wall on his left which suggests it was 'a spur of the momment' type photograph, there was no studio set up to have it taken. This alone creates such a better image as Beckett had no time to beautify himself.

Jane Bown is known for her selection of photos of different celebrities, she claimed that her goal was to produce a truthful image rather than one changed by the potential of the camera. This photo wasn't based on a planned sitting but was created after Bown requested a sitting at the stage door of the Royal Court Theatre in London. It is unknown wether that is true, however it does seem to come across in her photos.

I decided to have a look at Jane Bown as an artist to see wether her other images are much similar to this one of Beckett. Below are a few of my faviroutes :

Woody Allen 1994 

Bjork 1995

David Bailey 2005

I'm kind of disappointed because some of the images i really liked I found on her website, the web didn't recognise the names so i may have to get another book out. However the images above i really like, the first Woody Allen i absolutely adore. What i like about it is the depth of field and the focus. I think the shadows and darkness of background go really well and capture his personality. The fact that he's wearing his glasses also creates character and helps us recognise him for who he is. The way the light falls on his face is lovely, i really like the simplicity of this photo. There is a sense of loneliness/longing i get from looking at this photo, i want to know what he is thinking and who he's looking at. Maybe no one or nothing, but the photo seems to portray otherwise.

The second photo being Bjork wasn't my first choice of jane Bown's photo's. I decided to pick it because it really shows the difference of mood compared to the photo of Woody. Bjork's photo seems to have a more enjoyable aspect to it, she's covering her mouth as if she's hiding however her eyes show a smile which lightens the mood completely. A beautiful photo of her, even though half her face is missing. Jane Bowns selection of photographs all seem to be black and white, i must say i think the colour would distract the mood from her photos so i'm glad they are in black and white.

The last photo i picked is of David Bailey, i chose this because of how his character shines through. The photo is quite light, and the detail caught off Bailey's face is really strong. He doesn't look particularly happy either which gives it that unpredictability look. He looks old, he looks sad but it all makes it a more interesting photo. It makes me want to talk to him, hear the stories he has to tell if any, which all add's to making it a strong photo.

My idea's on portraiture

Firstly looking at Jane Bown's photo's has definitely got me thinking about my final shoot in December. Im glad it has to be in black and white as i think colour will distract the eye from the detail in the photo. At this present time, i want to be able to choose someone who is of an age with lines in their skin especially their face, if only i could pick someone on the day so that they are completely unprepared for the shoot would be brilliant. I would capture them, as they are as a person, not as they want to be seen. I know i cant do this because of it's unpredictability, so i'm on the look out for the perfect person. The lines in a face will act as a story of ones life, like a map that their memories have marked. I really can't wait to do my shoot, for the minute i should look into a couple more photographers to help give me lighting and quality idea's.

Perception - What is a portrait? (Overlooking the lecture)

After having an hour lecture on the subject 'what is a portrait' i have found myself questioning the basics of myself and how we perceive ourselves. For example when taking a photo of myself how can i possibly potray me? What makes me me? Our personalities change and adapt over time just as our bodies do, with portraiture our subject is ever changing also. We are capturing them as they are in that specific time, how the photographer or subject wishes to be captured is their choice.
Maybe it's our thoughts, our consciousness that separates us from each other. If i were able to look into someones consciousness there would be no way to lie or hide from ones thoughts, i would know how they feel, their personal opinons. Do our memories make us who we are too? Looking back over old photos we reminisce, a sadness felt as it is only a memory. However how far back can we remember and how much do we make up? We fill the gaps instinctively to keep the memory alive.

Before we have anything in the world we have the ability to think, as we grow and learn thinking turns into judgement and opinon. Does this make us who we are?
When creating a portrait i understand that there are limitations, as in trying to portray someone for who they are and how they feel is one we can only attempt to do, as the photographer will never know how the subject is truly feeling.
Why do we have photos of family members, boyfriends/girlfriends, children, in our bags, wallets and purses? Its not like we take them out to admire them all the time, they just stay hidden until we occasionally glance at them. Is it a way to treasure a memory? If the photo was to become ripped or lost a feeling of sadness would overcome us as its a loss of something we intended of keeping for as long as possible. Maybe it's a way of keeping those close to us with us, on our busy day's. Knowing that their going on the same journey with you?
I found this lecture really interesting, i think as photographers unless we know the person well we can only attempt to capture the person how we have found them to be, our first impression of them. Yes the person i choose will end up becoming more of a friend than a stranger, but it's still my choice to portray them how i want them to be represented. We control the lighting, the focus, everything; it is our to choice to create a story to the viewer and have the viewer make judgement on the photo.

"I think therefore I am"

supposedly a simple photograph? wrong.

After being on the course five weeks i have learnt enough to know that no photo is simple. Sometimes i feel as if i'm ripping apart a photo to discover its meaning, why the photographer chose certain aspects, the lighting choice, the film, the lens, position, person, object etc... it just goes on and on. I have learnt a lot already about photography and feel myself taking more notice of the photos seen on a daily basis, noticing people in the street who would make an amazing photo. However sometimes i feel like we've discovered and found all aspects a photo, ripped it apart to find it's meaning but forgotten to admire it first. To me, thats crucial.

For my body unit it has to be in Black and white which i am pleased about. In general i prefer black and white photography especially for portraits. I have been asked to create a portrait of someone who lives in the medway area, an individual of our community. However the person must be unknown to myself.
At first when i read the brief i thought it was mad to think i'd have to ask a stranger to accompany me to uni so i can take photos of them. However yesterday was the first time i realised how good a photo it can be, the person will make it. A stranger to begin with yes; but towards the end a friend they will be.

While waiting for the bus yesturday i was listening to my ipod when an old woman in front of me started swearing so loud i could hear her over the music i was listening too. Not only that but when she realised by my shocked face she started laughing, said sorry and carried on walking. I sat down like my usual routine and began thinking of all the things i had to do that day, when the same swearing woman appeared next to me. Chatting away like there was no tomorrow. 
At first i thought she was going to complain about the bus being late and distract me of my daydream for five minutes, before she returned to silence like the ordinary people have done while waiting for the bus, but she didn't. I ended up turning my ipod off and putting it away in my bag because there was no point listening to it, it was rude not to listen to this old woman. 
She talked for the whole 20 minutes we were waiting, telling me all the stories she's done the past summer, including a brighton trip to which she described being amazing and great fun, telling me the resturants she went to and the lunches she's had there. She continued to talk about her son who she sees every now and then, a baby that her friend has had and how her life has been after living in Strood. 
To be quite honest, i didnt get a word in. As much as she refered to me i made comments on her trips to brighton and helped continue the converstation but for some reason when ever a stranger talks to anyone you look forward to them stopping. i reckon its human nature. To begin with i was hoping it too, it wasn't until I asked who she went to Brighton with i realised. 
"oh on my own. my husband died not so long ago."
I realsied that the stories she's been telling be the last 20 minutes were all because she had no one else to tell, no one to share the fun times of Brighton with or share the excitemnet of her grandson. She was just getting on with her life making the most of things. I already had a new respect for the old woman who only wanted to talk to someone. As she continued to tell other stories i felt a kind of sympathy for her, i initially i wanted her to leave me alone but now i wanted her to be noticed.  Be known that after every story she told, she was still smiling.
It got to a point where she said she was waiting for her friend who should be on our bus, if not, then she'd wait for the next one. Our bus arrived, i said goodbye and got on.  Her friend wasn't on the bus; she sat where i had been sitting the whole time she was there. As it drove away i smiled and waved goodbye, she smiled back at me.


I wish i asked to take her photo for this project. A stranger with a hidden story, who just wanted to be heard.
I haven't seen her since.

Black and white?