Portraiture
AO1
Contextual Understanding.
Develop ideas through sustained and focused investigations informed by contextual and other sources, demonstrating analytical and critical understanding.
Initial Ideas And Brainstorms.
Initial Idea Brainstorm.Here is a brainstorm of my first initial thoughts and ideas about the portraiture brief for growth and decay. These are just some of my immediate ideas that came to mind when thinking about growth and decay in a portrait containing a human subject. For example, initially my thoughts were swayed towards the idea of the contrast between the obvious growth and decay of life- old and young. I began to explore possible ways of showing this through a series of photographs and ways that I could manipulate the growth and decay of human life through external factors such as clothing and appearance. I also began to consider the idea of internal growth and decay- the emotional lows and highs that every person goes through. I considered the idea of showing these feelings through the different uses of light, colour and facial expressions; for example a colourful, well-lit image for the 'growth' idea and a more surreal, dark and depressing image for 'decay'. Additionally, the use of clothes and money sprang to mind when considering my theme- the way that someone composes themself through their attire and the way in which this can change due to factors such as lack of money or prosperity. This could also be portrayed through a short series of images- showing someone as they go from a wealthy, well dressed person (growth) to being poverty-stricken (decay).
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Idea Sheet 1.I placed these two images together because the idea shown in both of them is very similar. This was my idea of showing the dangers that both men and women face of abuse and assault. To do this I began to consider the way in which they would appear through a series of photographs; at the beggining they would be either ready or getting ready to go out, as the images go on it shows them at different stages throughout their night- makeup immaculate, slowly deteriorating as the night goes on. The final image would be designed to shock the audience, an image of the subject after being beaten up- very bruised, clothes, hair and makeup a mess, so that they look like a shadow of their former selves. I also considered aspects such as the lighting, the first few pictures should be quite dim, to show the type of low-level lighting used in night clubs and parties, the last image however would be very bright in a plain white room- putting emphasis on the subject as it is all the audience can see and therefore drawing their attention immediately to it.
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Idea Sheet 2.This idea consists of showing the decay that someone can go through in terms of their lifestyle and appearance based on their income and money. To do this I would like to show the process of a man/woman going from someone who is obviously wealthy and powerful to the opposite through a series of between 5 and 6 images. One aspect that I am taking into consideration is the costume- this would begin as very smart, crisp and obviously well-kept for example a suit or a white shirt. The hair and makeup should also reflect wealth and power- hair being styled, healthy, shiny and the makeup being minimal but used to reflect the model's natural feautres, a simple but very clean and powerful look. As the images go on, the model will begin to reflect their loss of money- the hair will become more limp and lifeless, bags appearing under their eyes, their clothes becoming increasingly scruffier and less well-kept until the end product, showing the model as a shadow of their former self, with an almost dirty look to them.
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Idea Sheet 3.Here is another idea based on my chosen theme; the growth and decay of a relationship. This could be between family members, friends or couples. I have chosen to work with couples because there are many aspects that can be portrayed through the process of a relationship decaying- intimacy, love, lust, arguments, aggression, frustration etc. Initially, the images will begin with one of the couple looking very close and intimate but in a subtle way, perhaps with their faces touching, eyes closed, a slight smile- absorbed in each other. I would use diffused lighting here making the atmosphere appear peaceful and beautiful. As the pictures progress I would like to show the couple begin to grow frustrated and angry through the use of body language, facial expressions and lighting. I would have them begin to turn slightly away from one another, perhaps in some have either the girl or boy completely away- back turned on the other. The lighting should begin to grow harder making the faces appear more shadowed and outlining any creases in the face- emphasising the expression or anger and resentment. Towards the end I would like the models to (either both or one of them) appear very angry or disturbed- possibly screaming or shouting, fists clenched, or maybe seem very depressed- head in hands, sad expression, dim lighting etc.
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Photographer Research.
Martin Schoeller.
Martin Schoeller captured a series of photographs called 'close up' consisting of recognised celebrities such as Angelina Jolie and Katy Perry, as well as 'normal' people who aren't famous or recognised by the public eye. These images aren't the ordinary photo-shoots that one would expect to see of such well renowned actors, singers, athletes, models and politicians; this is because of the lack of intense make-up and hair styling, revealing any flaws that the person may have. This makes a very effective image because you would not usually see the stars in this manner- it almost begins to make them seem more real and almost more human because their flaws and errors are apparent to the audience; additionally, the people who aren’t famous in the pictures are in the same state as the ones who are, this removes the divide which usually separates the stars from the ‘Average-Joes’ because of the minimalistic style in which they are portrayed.
One of the distinctive signature features which Schoeller uses throughout his images is the ‘catch lights’ which are reflected in the eyes of all the models. This is very effective because it causes the eyes to stand out and dominate most of the image without editing or manipulating them through Photoshop. Additionally, another feature which is consistent throughout his images is the shallow depth of field- the way that the face appears to stand out against the rest of the picture- the hair, ears and neck are out of focus whereas the face itself is focused upon to an extreme level, allowing the audience to feel very intimate with the subject’s face and feel a closeness with them because of the intensity of the detail.The facial expression that all of the subjects have is practically identical- very neutral and expressionless, this has an impact because the focus is not on the expression of the model, but the model itself; giving off the message that Schoeller doesn’t want the audience to focus on a specific mood or emotion but the detail in someone’s face and their natural physical features.
Ultimately, I think that Schoeller is trying to portray the message of equality in his images; the mere fact that all his images are very exposing of the celebrities and they are in the same physical state as the ordinary people almost makes his images seem more honest than the photos that would usually be shown in magazines etc of them- all unwanted or unappealing aspects are revealed and yet they still appear beautiful and stand out because of Schoeller's signature use of catch-lighs, perhaps indicating that people can still be beautiful and remain appealing and striking without the use of extreme make-up and photoshopping.
One of the distinctive signature features which Schoeller uses throughout his images is the ‘catch lights’ which are reflected in the eyes of all the models. This is very effective because it causes the eyes to stand out and dominate most of the image without editing or manipulating them through Photoshop. Additionally, another feature which is consistent throughout his images is the shallow depth of field- the way that the face appears to stand out against the rest of the picture- the hair, ears and neck are out of focus whereas the face itself is focused upon to an extreme level, allowing the audience to feel very intimate with the subject’s face and feel a closeness with them because of the intensity of the detail.The facial expression that all of the subjects have is practically identical- very neutral and expressionless, this has an impact because the focus is not on the expression of the model, but the model itself; giving off the message that Schoeller doesn’t want the audience to focus on a specific mood or emotion but the detail in someone’s face and their natural physical features.
Ultimately, I think that Schoeller is trying to portray the message of equality in his images; the mere fact that all his images are very exposing of the celebrities and they are in the same physical state as the ordinary people almost makes his images seem more honest than the photos that would usually be shown in magazines etc of them- all unwanted or unappealing aspects are revealed and yet they still appear beautiful and stand out because of Schoeller's signature use of catch-lighs, perhaps indicating that people can still be beautiful and remain appealing and striking without the use of extreme make-up and photoshopping.
My Work In The Style Of Schoeller.Here, I have attempted to recreate Schoeller-esque close up images of four different models. I used the same blank expression throughout the series of pictures to mimic his signature style and used a well-lit set with a white back-drop to create the setting and brightness that it shown throughout Schoeller's work. Additionally, I used a small light very close to the face to try and capture the catch lights in the eyes of the models. I used two large lights with no cover on them either side of the model as the main source of lighting to ensure that no harsh shadows were created on the models face, this also illuminated the faces and brought any details into focus. Furthermore, I used a shallow depth of field so that only the face was in focus, the hair and shoulders are slightly blurred around the edge- again mimicking Schoeller's style. I have included an image of the set that I had put together to capture these photographs in, this consisted of a white back-drop, two large main lights and four smaller, more concentrated lights surrounding the subject to ensure a complete and even light coverage.
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Adding Catchlights.
To add the catchlights into the model's eyes in the style of schoeller I selected the dodge tool. I then swept over the iris' of the models to brighten and enhance the light that had already been captured in them, I brightened the whites of the eyes too in order to make them stand out even more. Then, to add greater emphasis on the eyes themselves, I selected the burn tool and altered the brush size and the opacity before sweeping over the eyelashes to darken them and therefore draw more attention to the eyes and make them appear more dramatic. |
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Jorge Miguel
These images belong to a series of photographs by Jorge Miguel called 'De Cabeza' which literally translates into 'The Head'. This pretty much sums up what his images consist of- in reference to the part of the subject's body, they are all shown from the shoulders upwards and the main focal point of the images are their faces. Miguel focuses on expression, body art, colour and props rather than the actual model themselves- his subjects have all been physically distorted or edited, manipulating their appearance and the photograph's message. For example- the third image above shows a woman with minimal detail to hair and makeup whose face has been physically altered through the use of stretching clear plastic across her. Her expression suggests discomfort, shock and almost pain- perhaps indicating that she is trapped, pushing against the plastic trying to escape.
One of the distinctive features of Miguel's work is the fact that all of the subjects of these photos appear to be naked- at least from the shoulders upward. I think this is effective because it causes the focus of his images to not revolve around what the model is wearing, but the attention to detail of wardrobe on the model's face- for example, ages, gas masks, paint, cling film etc. Also, Miguel appears to have used the same male and female model consistently throughout this series of photos, perhaps because he felt that they had adaptable faces- which is proved to be true in his images because they all hold a different, but equally bold theme and statement. In my opinion, his pictures are very effective because of how bold and brave they are- they all push boundaries of images that people would normally expect and choose to see through their surrealism and often blood and gore- hand prints of blood and a zip through someone's skin down their spine is not something that many people would choose to see. Additionally, his images don't appear to be implying a specific message, I believe that they are more about having fun and capturing images that are slightly odd for amusement purposes.
Miguel's work could definitely influence my own work, mainly focusing on the idea of having something covering or distorting a face, I like the idea of using cling film or a similar prop to distort the face physically, this could link into my idea of one person trapping and controlling another.
One of the distinctive features of Miguel's work is the fact that all of the subjects of these photos appear to be naked- at least from the shoulders upward. I think this is effective because it causes the focus of his images to not revolve around what the model is wearing, but the attention to detail of wardrobe on the model's face- for example, ages, gas masks, paint, cling film etc. Also, Miguel appears to have used the same male and female model consistently throughout this series of photos, perhaps because he felt that they had adaptable faces- which is proved to be true in his images because they all hold a different, but equally bold theme and statement. In my opinion, his pictures are very effective because of how bold and brave they are- they all push boundaries of images that people would normally expect and choose to see through their surrealism and often blood and gore- hand prints of blood and a zip through someone's skin down their spine is not something that many people would choose to see. Additionally, his images don't appear to be implying a specific message, I believe that they are more about having fun and capturing images that are slightly odd for amusement purposes.
Miguel's work could definitely influence my own work, mainly focusing on the idea of having something covering or distorting a face, I like the idea of using cling film or a similar prop to distort the face physically, this could link into my idea of one person trapping and controlling another.
My Work In The Style Of Miguel.Here, I recreated my personal favourite from Miguel's 'De Cabaza'. To do this I used bright red acrylic paint to form a print of my hands on the model's face- granted it is not as 'blood-like' as Miguel's however I think that it looked quite similar in terms of where the hand prints were and their positioning. For the lighting I used two large soft lights either side of the model's head and one smaller one directly in front, I did this for an all-round light coverage without creating unwanted shadows on the face as Miguel's images expose pretty much all of the model's face. I captured the images using different poses to express a similar, almost playful feeling which is portrayed in Miguel's photographs. For example a dramatic shocked face- almost comic, and another with the head slightly tilted and the tongue stuck out. |
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John Rankin- Women's Aid.
Rankin created a photo-shoot for the Women's Aid campaign of celebrities who appear to have suffered from domestic violence. These were intended to catch the eye of people by using well-recognised celebrities such as Anna Friel and Mequita Oliver with damaged and bruised faces as well as blank expressions- therefore adding a dramatic effect to the images because the focal point is not the expression or the model themselves, but rather the bruising and blood. Similarly to Schoeller. the eyes are a focal point- the catch lights in the eyes immediately catch my attention because of the lights reflected in them; slightly eerie because the eyes appear to shine behind this damaged and bruised exterior. Additionally, the images are made even more effective because they are in from of a plain white backdrop- nothing in the background is there to distract that audience from the main focus of the images: the models and their bruises. Furthermore, the fact that the models have no clothing or jewellery on makes the image even more brutal and harsh as it makes them appear vulnerable- it is clear to the audience that Rankin wanted them to see the bruising, bloodshot eyes and scars and for that to be the only thing which they focus on. I intend to reflect some of Rankin's work in my final pieces or at least experiment with bruising and physical damage to show that the subject is being both physically and internally damaged- probably not to the extent which Rankin has done this but in a more subtle, less obvious way as I want the focus of my subject to be the model's facial expression and the positioning of the hands on the model's face.
My Work In The Style Of Rankin.Here, I captured a series of photographs in a similar style t that of Rankin's. To do this, I firstly created the bruises on my model's face using different dark tones of purple and red eye-shadow as well as a 'mock' cut on her lip with white tape to mimic stitches. I chose a fair skinned model as the bruises would stand out more against paler skin. I wanted the model's facial expression to be as minimalistic as possible because the focus of the images were meant to be the damaged face rather than her expressions. To capture the images, I used two large soft lights either side of her head and one smaller light directly in front of her as to capture catch-lights in her eyes. The use of soft lighting meant that no harsh shadows were created on her face- therefore not taking away from the main focus of the bruising. |
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AO2
Creative Making.
Experiment with and select appropriate resources, media, materials, techniques and processes, reviewing and refining their ideas as the work develops.
Lighting.
Lighting is an essential element to take into consideration whilst taking a photograph. It can either make a picture or bring it down- being either extremely flattering and complimentary or have the complete opposite affect. Light manipulation can portray certain feelings or messages through the use of shadows and highlights on a face. Additionally, it can emphasize certain features and can sculpt a face making appear different to how the subject looks in person.
Hard Light.- This light is close to the subject and is not diffused equally.
- Smaller, concentrated light sources create hard light. - It creates a clear contrast between highlights and shadows. - It can also be considered to be unflattering as it can emphasise certain unwanted features through the use of shadows. |
Soft Light.- This is diffused against the subject and the light is spread out evenly.
- Creates less of a contrast with shadows and highlights. - It makes the skin appear soft, flat and airbrushed. - The larger the light source, the softer the image. |
Single Light Source Experimentation.
Butterfly Lighting.This is considered to be the most flattering and glamorous lighting technique as it sculptures the face- making the subject look very powerful. For example, it give the illusion of beauty and emphasise a woman's flattering features such as her lips, the shadows created appear to make her bigger and more defined. Additionally, it gives the face a better structure, highlighting her cheeks and creating a shadow under her cheekbones. To create this effect, both the camera and the light should be at eye level to the model, with the light tilted up at a 45 degree angle. This should ideally create a 'butterfly' shape under the model's nose- giving this technique it's name.
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Rembrandt LightingThis technique is also very flattering and glamorous as well as being considered dramatic and almost mystical. Ideally, it should create a triangular shape of light on the cheek furthest away from the camera. To achieve this, the light should be at eye level to the model, 35 degrees to the side of them and tilted up at 45 degrees. The camera should be directly in front of the model at eye level. |
Split Lighting.This technique is considered to be very dramatic because of its sinister style as only half of the face an the other half is in darkness. It is often used to show a 'bad' character or to portray a feeling of unease or mystery because one half of the face is concealed in darkness. To create this effect, the light should be directly to the side of the model, the camera at eye level in front of the model. To create a more dramatic and defined split effect, a hard light source should be used to put emphasis on the shadows and highlights. |
Rim Lighting.Rim lighting is the effect created when the camera is directly on one side of the model, and the light source on the other. This creates an outline of light around the models face. Ideally, this should be done when the room is completely blacked out and the only source of light is the light to the side of the model, making it more effective because the face is completely in shadow and the only indication that someone is there if the silhouette. |
Double Light Source Experimentation.
Clamshell Lighting.
Clamshell lighting is considered to be very flattering and glamorous because it captures and highlights attractive features such as the cheekbones and lips. This effect is created when two large soft lights are placed so that one is above the model, tilted down at 45 degrees (creating a butterfly light) and one is placed below the model tilted up at 45 degrees. Both of these lights should be directly in front of the model as well as the camera, positioned at eye-level.
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River-Cop Lighting.
This style of lighting is considered to be very suspicious and scary- overall rather unflattering because it creates a large shadow in the centre of the face covering the nose and most of the cheeks. This technique is created when two equally bright lights are placed either side of the model, slightly behind them with the camera at eye level to the model. The intensity of the shadows is controlled by how far back the lights are placed- the further behind the model they are, the harsher the shadows.
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Spray Lighting.
Spray lighting is a technique used to bring a dull background to life and make it more visually appealing. This is created when a single light is placed behind the model at a low angle, facing up at the wall/background. The closer the light to the wall, the smaller the circle of light and vise versa. This technique can be combined with all lighting techniques, e.g. butterfly, rembrandt, split etc. I have combined it with butterfly lighting and asked my model to pose in an obvious, happy manner to make the picture seem even more bright and alive.
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AO3
Reflective Recording.
Record in visual and/or other forms ideas ,observations and insights relevant to their intentions,demonstrating an ability to reflect on their work and progress.
Record in visual and/or other forms ideas ,observations and insights relevant to their intentions,demonstrating an ability to reflect on their work and progress.
Raw Photoshoots.
Cling-Film Experimentation.
Cling-Film Experimentation.
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This photo shoot was inspired partly through Miguel's work, specifically his image of a woman with her face stretched against a piece of plastic. It was also inspired and developed through my own initial idea of aspects of a relationship, moving on from this initial idea I decided to work with the idea of one person being dominant, controlling and over-possessive in a relationship. One way that I wanted to show this theme is through the use of someone’s face being covered, by another's hands or another person holding material over the face. I chose to use cling-film for this first experiment because it is transparent and allows the audience to see features such as facial expression and emotion although the face is covered. I also experimented with different lighting styles and techniques to suit the desired mood; I first tried using single source lighting by physically holding a small, un-diffused lamp in different positions and angles to the model's face. This proved to be successful at capturing the model's facial expression however it was too bright and I wanted a more sinister effect. To do this I used river-cop lighting against a white background, I chose to use river-cop because it very eerie and surreal looking- especially when combined with the cling-film covering the model. Additionally, I wanted to move on from using simply cling-film on its own so I decided to incorporate the idea of having another person's hands covering parts of the face and body so I used another model to place their hands around the throat, mouth and shoulders of my first model. This worked very well in my opinion and had exactly the desired effect of being surreal and slightly daunting.
Th unsuccessful images turned out this way because the light was too hard and concentrated on the model's face- I wanted a lot of the face to be in shadow to add a sense of mystery. Additionally, it wasn't as effective against a black backdrop as a white one, this is because against a white backdrop the model stood out and the image seemed more simplistic as well as the fact that the white background and the off-grey colour of the layered cling film complimented each other and created a subtle continuous colour scheme. The black backdrop did not do this, it was too harsh and dark against the model and was nowhere near as delicate as the white. Furthermore, the unsuccessful images contained another model's face- I captured some images such as these to see whether the outcome would work well or not, it turned out that it worked better when it was only the hands showing and not the face because it took the focus off the main model's face when another person was in the picture.
Th unsuccessful images turned out this way because the light was too hard and concentrated on the model's face- I wanted a lot of the face to be in shadow to add a sense of mystery. Additionally, it wasn't as effective against a black backdrop as a white one, this is because against a white backdrop the model stood out and the image seemed more simplistic as well as the fact that the white background and the off-grey colour of the layered cling film complimented each other and created a subtle continuous colour scheme. The black backdrop did not do this, it was too harsh and dark against the model and was nowhere near as delicate as the white. Furthermore, the unsuccessful images contained another model's face- I captured some images such as these to see whether the outcome would work well or not, it turned out that it worked better when it was only the hands showing and not the face because it took the focus off the main model's face when another person was in the picture.
Main successful and unsuccessful areas.
Photoshoot 2
Experimenting With Model And Hands.
Female.
Experimenting With Model And Hands.
Female.
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This photoshoot was developed through my idea of using cling film to cover someone's face and distort them. I moved on to the idea of using another's hands to do this. One reason why I chose to portray it in this manner is to hint at the idea that someone else is manipulating them and suppressing their speech- covering the mouth; hiding things from them- covering the eyes; and generally keeping them in the dark and controlling them- hands gripping the face and body. This could be interpreted in many ways but I have chosen for this photoshoot to experiment with a female model and male hands- showing domestic manipulation and possibly domestic violence because of the way in which the hands are embracing the model- sharply and violently.
I chose to use this model because of her naturally pale complexion including her pale lips as I wanted a model who would be easily adapted to my desired 'look'. I wanted to create a feeling of lifelessness and for her to look drained and tired- I did this by emphasizing her fair skin with pale make-up and used grey and brown eye-shadow on her bottom eyelids to make it appear as though she is tired and almost slightly bruised.
Ideally, I wanted the images to be quite dark and shadowy, emphasizing the facial expression and the bones in the hands to draw attention to the discomfort in the model's face and the warped and violent way in which the male hands are gripping her. I tried to minimise the amount of light that was in the background and the amount of hard light reflected off of the model's face as the images were intended to be very sinister and the use of bright lights contradicts this. The last image also worked very well because of the position of the model's head- it looks as though it is being pulled to the side by the male hand that is covering her eyes whilst she has her mouth open as though she is screaming- representing the frustration and agony of being manipulated like this. Additionally, the lighting is ideal in these images as it is soft and dispersed- creating an all-over feel of a colour scheme and theme.
However, some of the images from my photoshoot were unsuccessful. I found that these did not work well for various reasons; the lighting was out of context and usually too bright- creating the wrong kind of atmosphere and emotion; the male model's arms were showing but also his shirt sleeves were visible- distracting from the message that I wanted to portray of the hands being almost anonymous and without personality; the model's facial expression sometimes did not reflect the emotion that I desired, either it was too blank or was slightly smiling- giving off completely the wrong impression.
I chose to use this model because of her naturally pale complexion including her pale lips as I wanted a model who would be easily adapted to my desired 'look'. I wanted to create a feeling of lifelessness and for her to look drained and tired- I did this by emphasizing her fair skin with pale make-up and used grey and brown eye-shadow on her bottom eyelids to make it appear as though she is tired and almost slightly bruised.
Ideally, I wanted the images to be quite dark and shadowy, emphasizing the facial expression and the bones in the hands to draw attention to the discomfort in the model's face and the warped and violent way in which the male hands are gripping her. I tried to minimise the amount of light that was in the background and the amount of hard light reflected off of the model's face as the images were intended to be very sinister and the use of bright lights contradicts this. The last image also worked very well because of the position of the model's head- it looks as though it is being pulled to the side by the male hand that is covering her eyes whilst she has her mouth open as though she is screaming- representing the frustration and agony of being manipulated like this. Additionally, the lighting is ideal in these images as it is soft and dispersed- creating an all-over feel of a colour scheme and theme.
However, some of the images from my photoshoot were unsuccessful. I found that these did not work well for various reasons; the lighting was out of context and usually too bright- creating the wrong kind of atmosphere and emotion; the male model's arms were showing but also his shirt sleeves were visible- distracting from the message that I wanted to portray of the hands being almost anonymous and without personality; the model's facial expression sometimes did not reflect the emotion that I desired, either it was too blank or was slightly smiling- giving off completely the wrong impression.
One.
This image appealed to me because of the use of lighting and the facial expression. The lighting used was split lighting from a low angle to create shadows in the creases and lines of the model's face- these were exaggerated when the model stretched her mouth and the light that was caught on her cheek created deep etched shadows around her mouth- showing the extent to which she is supposedly screaming from discomfort. Additionally, the lighting technique used means that a lot of the model's face is covered by darkness- implying that she is being kept in the dark and manipulated by the owner of the hand. The hand itself appears to be pulling her in the direction of the shadows, indicating that he is pulling her, or attempting to, pull her down into a metaphorical dark and disturbing place. |
Two.
What attracted me to this particular image is the lighting, the hand and the model's facial expression. I used split lighting for this photograph and therefore half of the face is slightly concealed by shadows, making the image appear quite dark and eerie. The hand on the model's mouth represented the control that another person may have over someone's speech- this could be what they say, when they say it, or even if they are permitted to speak at all. The hand catches the light and therefore shadows are created in the texture of the hands and the outlines of the bones- making the hand appear more worn and 'evil'. The model's facial expression is subtle- a look of slight shock with her eyebrows raised and eyes staring directly into the camera, showing that she is not comfortable in this situation with the hand over her mouth. |
Three.
Some of the images worked very successfully, this one in particular turned out to be quite successful in my opinion. This is because of the positioning of the model's face; her head is slightly tilted back as though the hand is pulling her forcefully- making it clear to the audience that this is not a comfortable position, especially as the hand is covering the model's eyes meaning that her vision is obscured and therefore adding a sense of disorientation to the whole image. The model's mouth, too, is open in slight discomfort almost as though she is speaking or about to speak. The male hand is covering her eyes- representing the fact that the person behind the hand may be hiding certain elements, or trying to keep her 'in the dark'. |
Main successful and unsuccessful areas.
Photoshoot 3.
Experimenting with model and hands.
Male.
Experimenting with model and hands.
Male.
Moving on with developing my idea on using hands to cover the face and express a certain message, I decided to change the models and experiment with a male model and female hands to see if it had a different effect. I changed various things throughout this photoshoot including; lighting, composition, facial expression, the position of the hands on the face etc. Whilst taking the first images of the mouth being covered, I used two hard light lights slightly to either side of the model's face to create harsh shadows on his face and to emphasize any frown lines that naturally appear as this shows how the face is struggling and shows the discomfort in the model's face. Also, hard lighting catches on the female hands and creates shadows which define the bones and make them look gnarled, almost 'witch-like'. I also think the facial expression worked well in the images of the mouth being covered- his eyebrows raised, creating frown-lines in his forehead adding to the uncomfortable feel of the whole image. Additionally, the female hand is slightly pulling down the skin around his eye and cheek, this shows that she could perhaps be causing him pain- the aim of the picture was to look as uncomfortable and painful as possible.
The second series of photographs with the female hands on either side of the model's face were intended to represent the way in which someone can manipulate and control the things that you hear and find out. For this, I used soft split lighting- the shadow covering half of the face was to show the darkness in which they are being kept, only hearing half of what they should- therefore half of their face being lit. I like the way that the fingers on the face are spread out- covering as much of the face as possible from the sides and digging the tips of fingers into the model's skin to make it seem very violent and harsh. This combined with the eyes pressed tight together and mouth open as though screaming makes the images seem quite effective because the facial expression reflects the emotion that I wanted to see, it appears almost as though the model is in agony and is screaming in discomfort.
Lastly, I captured a series of images with the female hands covering the model's eyes, these were taken to represent the way in which a person can begin to control what you see and what you recognise; again the ability that some people have to hide certain things from others. These were, in my opinion, the most successful of the whole photoshoot. This is because of the lighting used- again I used soft split lighting to represent how only half of the truth is being seen by the model, also because it creates an eerie effect by creating shadows in the creases and texture of the face. The lines around the model's mouth are very defined here because of the shadows and the depth that the shadows cover making the face appear very worn and battered. In addition, the hands that are covering the eyes are almost entirely hidden in shadow- the eyes themselves cannot be seen, giving off the impression that the tips of the fingers have disappeared into the eyes, leaving the model completely blinded and therefore in obvious agony.
However, there are many faults with this photoshoot which made it unsuccessful. For example, in many of the pictures you can see the female model behind the male model or see parts of her hair or sleeves on her arms- ruining the whole image and taking away from the illusion that the hands are anonymous. It was also very difficult to get the male model's facial expression the way I wanted it for the specific images- I felt that they did not look painful enough and didn't express the discomfort which I wanted to portray. Also, in many of the images, because of the positioning of the lights and the models, their shadows are shown against the backdrop which was supposed to remain clear as to not distract from the model himself, however in some of the images which have shadows in the background, I think it compliments the image as a whole and makes it appear slightly more eerie because it shows the outline of a person behind the male model without showing the person them self- making it even more surreal and scary.
The second series of photographs with the female hands on either side of the model's face were intended to represent the way in which someone can manipulate and control the things that you hear and find out. For this, I used soft split lighting- the shadow covering half of the face was to show the darkness in which they are being kept, only hearing half of what they should- therefore half of their face being lit. I like the way that the fingers on the face are spread out- covering as much of the face as possible from the sides and digging the tips of fingers into the model's skin to make it seem very violent and harsh. This combined with the eyes pressed tight together and mouth open as though screaming makes the images seem quite effective because the facial expression reflects the emotion that I wanted to see, it appears almost as though the model is in agony and is screaming in discomfort.
Lastly, I captured a series of images with the female hands covering the model's eyes, these were taken to represent the way in which a person can begin to control what you see and what you recognise; again the ability that some people have to hide certain things from others. These were, in my opinion, the most successful of the whole photoshoot. This is because of the lighting used- again I used soft split lighting to represent how only half of the truth is being seen by the model, also because it creates an eerie effect by creating shadows in the creases and texture of the face. The lines around the model's mouth are very defined here because of the shadows and the depth that the shadows cover making the face appear very worn and battered. In addition, the hands that are covering the eyes are almost entirely hidden in shadow- the eyes themselves cannot be seen, giving off the impression that the tips of the fingers have disappeared into the eyes, leaving the model completely blinded and therefore in obvious agony.
However, there are many faults with this photoshoot which made it unsuccessful. For example, in many of the pictures you can see the female model behind the male model or see parts of her hair or sleeves on her arms- ruining the whole image and taking away from the illusion that the hands are anonymous. It was also very difficult to get the male model's facial expression the way I wanted it for the specific images- I felt that they did not look painful enough and didn't express the discomfort which I wanted to portray. Also, in many of the images, because of the positioning of the lights and the models, their shadows are shown against the backdrop which was supposed to remain clear as to not distract from the model himself, however in some of the images which have shadows in the background, I think it compliments the image as a whole and makes it appear slightly more eerie because it shows the outline of a person behind the male model without showing the person them self- making it even more surreal and scary.
PhotoShop Manipulation.
The successful raw images that I had captured were appealing on their own but I wanted to enhance their surrealism and make them appear darker and more eerie. To do this I decreased the darkness and slightly desaturated one of the more successful images- this made the colour slightly less obtrusive and therefore make the image seem more 'dead' and lifeless- as though there is no happiness in the image, represented by the lack in colour and vibrancy. I then increased the contrast and decreased the brightness slightly as to add to this effect that I had already created by manipulating the saturation and colour intensity. I then wanted to make the creases in the model's face appear more prominent and dark but in a subtle way which would not take over the whole image. To do this I selected the 'burn' tool, altered the brush size and the opacity and touched over the dark lines around the eyes, only darkening them slightly as I did not want it to look obviously altered on PhotoShop. |
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Photoshoot 4.
Experimenting with model and hands.
Male 2.
Experimenting with model and hands.
Male 2.
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This photoshoot was the experimentation for my final piece, it focused mainly on the contrast between skin tones and colours and how it affected the image as a whole. Using different skin tones would make the hands stand out against the skin- defining them and also the way in which they are placed on the skin. I chose to use a black male model and a fair-skinned female model- two opposing skin colours which would look odd against each other.
I stuck to the same concepts and themes throughout this shoot as I want my final piece to work around the idea of hands covering faces however this wasn't a complete photoshoot that I intend on using for my final piece- more of an experiment to play around with the composition of the hands on the face and facial expressions rather than the lighting etc. The male model that I chose was asked to tilt his head back in many of the pictures with his mouth stretched open as though screaming, his eyes squeezed together tightly to show the strain on his face through the hands and the amount that he is supposedly trying to avoid the pain being inflicted through the hands.
I stuck to the same concepts and themes throughout this shoot as I want my final piece to work around the idea of hands covering faces however this wasn't a complete photoshoot that I intend on using for my final piece- more of an experiment to play around with the composition of the hands on the face and facial expressions rather than the lighting etc. The male model that I chose was asked to tilt his head back in many of the pictures with his mouth stretched open as though screaming, his eyes squeezed together tightly to show the strain on his face through the hands and the amount that he is supposedly trying to avoid the pain being inflicted through the hands.
Best Three Photographs.
One.
This image stood out to me because of the composition; the model is directly facing the camera with his head tilted slightly backwards, making it very easy to see all of the facial expression and details in the face such as the frown marks between the eyebrows and the gritted teeth as well as the indents in the cheeks from the female hands. Additionally, the use of the rule of thirds means that there is a wide space to the right of the model- showing the emptiness around him and therefore making his face the main focus of the photograph. What also stands out to me is the obvious contrast in skin tone between the male model and the female hands- adding greatly to the contrasting theme which was intended to run throughout the images and add more to the contrast between one person wanting to control and manipulate, and the other wishing to break free from this. |
Two.
I chose to show this image specifically because of the composition, facial expression and the placement of the hands on the model's face. The composition appealed to be because the model is directly in the centre of the frame- making it the only focus of the image. It is slightly low down the image which creates a feeling that the model is being dragged down by the hands on it's face- this combined with the hands appearing to cause the head to tilt back and the screaming mouth make the whole composition appear very aggressive and forceful. The model's facial expression stood out vibrantly to me particularly because the eyes are not visible and the mouth is stretched as wide as possible- screaming out in apparent pain. This makes it seem that the fingers digging into the model's eyes are causing not only discomfort but severe pain. |
Three.
Similarly to the previous two images, this appealed to me because of the composition- again a slight rule of thirds used here, showing that the model is the only desired focal point of the image and that the rest of it is irrelevant. The facial expression made up of the mouth wide open in an agonised scream; the eyes pressed together tightly and the lines on the face which are created from these features all make the image very effective and portray a feeling of almost torture due to the manipulative hands- or the person whom they belong to. The hands, too, appear to be pulling on the model's skin and scratching at the side of his face, this adds to the unease created by the rest of the image. |
Photoshoot 5.
Experimenting with model and hands.
Male 2.
Experimenting with model and hands.
Male 2.
This photoshoot was continuing from my previous photoshoot with the same male model. In this shoot I not only focused on the composition and facial expression of the model as well as the hands and their positioning on the model's face, but also the lighting techniques used which I had previously not focused on in my earlier shoot. To do this, I used a single hard light directly in front of the model, facing upwards at 45 degrees, or slightly to the side of the model as to create split lighting. I chose this because it is very unflattering and creates a lot of shadow against the model's face- making the image quite dark and almost mysterious.
I think that the lighting and composition of these images worked quite well as well as the natural colour scheme which was created through the tone of the backdrop- a slight blue/green hint has been captured against the backdrop which makes the whole image feel a lot more surreal and eerie as the dark tones create a sense of mystery and darkness. However the facial expression is what lets the shoot down in my opinion; it does not seem to be extreme enough as I wanted the images to look close to torture and as though the subject is in real pain because of the hands. These images reflect that slightly however there does seem to be a slight feeling of half-heartedness with the model and therefore it showed in the shoot that they weren't really in pain.
I think that the lighting and composition of these images worked quite well as well as the natural colour scheme which was created through the tone of the backdrop- a slight blue/green hint has been captured against the backdrop which makes the whole image feel a lot more surreal and eerie as the dark tones create a sense of mystery and darkness. However the facial expression is what lets the shoot down in my opinion; it does not seem to be extreme enough as I wanted the images to look close to torture and as though the subject is in real pain because of the hands. These images reflect that slightly however there does seem to be a slight feeling of half-heartedness with the model and therefore it showed in the shoot that they weren't really in pain.
Best Three Photographs.
One.
This image stood out in particular for me, this is because of the way the light has hit the background and created shadows in different places- it almost looks like the torso and arm of a person standing behind the model, therefore adding to the mysterious feel. Additionally, the way that the soft lighting has been captured on the hands makes them seem a lot smoother and paler than the model's face, creating a further contrast which re-enforces my idea of a struggle and pain caused by someone else's (metaphorical) hands. The composition, too adds to this as the tips of the fingers and nails seem to dig into the model's eyes, making the image seem very uncomfortable, as though they are severely hurting the subject- hence the screaming mouth of the model. |
Two.
This photo is quite different from the previous one that has been shown; there is much less light intensity and because of that the shadows on the model's face are more dominant over the picture, as well as the shadows against the female hands. This does not take away, however, from the contrast that has been created by the use of light skin against darker skin as the hands are still obviously paler than the model's face. I also think that the model's facial expression is quite effective in this image. The way that the eyes are pressed tight together suggests a feeling of discomfort as well as a slight feeling of fear or anticipation, as though waiting for something to happen. This is much more subtle than the previous image of an all-out scream which directly shows the pain rather than hinting at it and therefore leaving more room for interpretation like this image does. |
Three.
This image stood out to me because of it's simplicity, granted it is not as effective as the others because of the lack of pain in the model's facial expression. It appealed to me because of the look in the model's eye- as though they are scared, looking into the camera with an air of helplessness. The lighting, too, catches the eyes, lips and the female hands covering the model's face causing these to become the immediate focal-point. Also, I like the way that the face fills almost the entire image, providing a close view of their expression and the small details such as the way that the hand is pulling against the eye and the fact that the mouth is slightly open, almost in shock. |
PhotoShop Manipulation.I used photoshop to manipulate the images which I had previously captured. To do this I began by enhancing the brightness and contrast to highlight the shadows and the places where the light hits the skin. I then slightly desaturated the images to remove some of the pigment from the model's face to give a sense of lifelessness. I then used the 'Dodge' tool to further highlight the pale skin tone of the hand as well as the places where the light hits the model's face and the whites of their eyes. Also, I used the 'Burn' tool to darken the shadows in some places and enhance the lines around the model's eyes. Finally, I used the 'Patch' tool to smooth over any unwanted creases in the backdrop and remove any lines which make the image seem messy or unprofessional. I did this on three of the images from this photoshoot to use as experimentation and to really get to grips with photoshop and how to make the images seem more eerie and discomforting.
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AO4
Personal Presentation.
Present a personal, informed and meaningful response demonstrating critical understanding, realising intentions and where appropriate, making connections between visual, written, oral or other elements.