Assignment 208: Location Photography: Research Theme 1: Personalities by Eve Arnold/ Magnum Photos

In this video Eve Arnold talks about her work - Eve demonstrates a great deal of respect for her models - this is particular evident in her work with Joan Crawford when she refused to publish images of Joan naked.

A common theme that comes through all of the portrait photographers that I have researched emphasise the relationship between them and their models.  It is very clear that portrait photography, good portrait photography, is about building a relationship that allows you to capture the essence of the person.

Assignment 208: Location Photography: Theme 1 Research - Steve Pyke MIND THE GAP - Steve Pyke

This video captures Steve Pyke talking about shooting using a Rollieflex camera - how it changes the relationship between you and the model.

I interested in his view of how much more intimate he felt this style of camera made the taking of a persons portrait.

He also talks about his work of capturing images of philosophers - how out of an hour's sitting only ten minutes it take up with photography - the rest is about building the rapport, relaxing the model and capturing a moment of compassion.

All of his portraits are naturally lit and his looking to capture a spontaneous moment created between him and the sitter.

Assignment 208: Location Photography - Final 10 Images - Theme1

Assignment 208: Location Photography

Final 10 Images - Theme 1

Portraits 

My first theme was centred around portraits of individuals in natural surroundings using natural light.  My work was inspired by images published by the likes of Eve Arnold, Steve Pyke and Jane Bowen.  The images had to be very tightly composed, with the focus being facial expression and texture, capturing something about that person that helps to identify and define them.

All of the images were taken during visits to the models homes, I would spend time setting up, showing them the equipment, explaining what I wanted to achieve and then just have a coffee, and talk - capturing images along the way.  None of the images were posed for.

I am pleased with the final ten images, but feel I still have room to develop in this genre - whilst I feel I have managed to keep the composition to my brief the images would have benefited from greater attention to the background, lighting and depth of field.  I also used flash more that I would like and would want to work on my low light techniques going forward.

All of the images were taken in colour and converted to black and white, with additional manipulation around colour saturation.

Boredom
ISO 200, f3, 1/125

This picture has made the final ten as it reminded me of Jane Bowens picture of Sinead O'Conner, with the cigarette behind the ear - and the expression captured conveys a sense of boredom and sadness that represents a lot of the youth today.  I like the grainy texture to this image which add depth, and the fact that he hasn't shaved that day adds to the whole sense of a lost youth.

Concentration
ISO 200, f3.5, 1/80

I chose this image because of the way in which the hair frames around the face,  you can also see the slight frown on what is an otherwise smooth clear complexion. I also liked the fact that it captured the tattoo in the wrist which reveals a little more about this person.

Despair
ISO 200, f3.5, 1/80

I like this image as I have managed to catch a defining moment for the model - she was very frustrated over her emails and getting them up and running was important as she was trying to buy something on line - this is the point that the email failed to send and her frustration boiled over - she has very dark hair and very pale smooth skin which creates lovely contrast - I like the fact that she is wearing a ring on her little finger as this again adds a dimension about this person that gives the picture additional interest.

Freedom
ISO 200, f3, 1/200

I've called this image freedom because it takes a certain amount of freedom to let a belly laugh go.  This is my brother-in-law and when he laughs it really does come from his belly - a true expression of joy.  This image reminded me of Jane Bowen's Mick Jagger - I can't remember what we talking about but something just made him throw his head back and howl with laughter and I was pleased that I managed to capture that moment.

Angel
ISO 200, f3, 1/80

I loved this image when I first saw it on the display on my camera, I was a bit disappointed that because of the shallow depth of field it wasn't in total sharp focus - but then I decided this added to the image - softness to the image adds an 'angelic look' to the child - and draws you into the important bit - the bright eyes.

Thinking
ISO 250, f3, 1/60

We were just talking about what it was like to cope with two younger brothers, what he was expecting for Christmas and his hobbies.  To begin with he was very shy and wouldn't look at me or towards me - so I was really pleased when I looked back and had captured this image of him looking directly at the camera - you still get a sense of shyness with the hand to the mouth - but the eyes convey a slight hint of a smile hiding behind that hand.

Relaxed
ISO 200, f3.5, 1/200

This is my sister - on the day of this shoot, although it was October, we were treated to a bit of sunshine so we did the shoot outside in the garden.  The sun had just broken through the clouds, she thought I was taking photo's of someone else - but I managed to capture this moment of her head turned towards the sun - looking to soak up those precious warm rays. 

Contemplation
ISO 200, f3, 1/13

I have chosen this image as it works with the concept of waiting for the person to make a gesture or strike a pose that helps you to capture something about them.  With this image I like the facial expression around the mouth and the fact that her face is resting on her clenched fist draws you to this.  There is a distinct difference between the soft texture of the hand and the slight graininess of the face that helps add interest.

Lived In
ISO 200, f3, 1/60

I love Steve's face - it has such texture, and he has great facial expressions.  This image and the last one remind me of the image taken by Steve Pyke of the war veteran.  As with Steve Pyke's image the texture in the skin, the lines and folds tell you something about this person.  The earring adds additional interest to the character.

Lived In II
ISO 200, f3.5, 1/80

Assignment 208: Research: Dorothea Lange: Portrait Photographers

Dorothea Lange: 1895, New Jersey

Dorothea Lange is very different to the other portrait photographers that I have researched and used to help define the type of image that I am looking to achieve.

Her images are not of famous people, but of the poor migrant workers of the great American depression, or the evacuation of the Japanese Americans during world war II.  

Dorothea's work focused on images of the poor, needy, surpressed. 

 The reason that I have chosen Dorothea's work as part of my portrait research and as an inspiration is because of the emotion that her images convey - these images remain tightly composed with the background providing minimal disruption - and the black and white composition ecentuating the gritty reality of their life

Dorothea has been described as being able to pull beauty out of desolation.  She described a good photograph as not one that you saw with your eye - but your brain and your emotions.

Ms Gordon, the Author of 'Dorothea Lange - A Life Beyond Limits' described Dorothea as a portrait photographer who had an amazing ability to connect with people and draw them out.  A recuring theme through out successful portraiture.

Dorothea's explains how she captured the famous portrait:  "I saw and approached the hungry and desperate mother, as if drawn by a magnet. I do not remember how I explained my presence or my camera to her, but I do remember she asked me no questions. I made five exposures, working closer and closer from the same direction. I did not ask her name or her history. She told me her age, that she was thirty-two. She said that they had been living on frozen vegetables from the surrounding fields, and birds that the children killed. She had just sold the tires from her car to buy food. There she sat in that lean-to tent with her children huddled around her, and seemed to know that my pictures might help her, and so she helped me. There was a sort of equality about it."

References:

The Contact Sheet

http://en.wikipedia.org/wiki/Dorothea_Lange

You Tube

Dorothea Lange:  A Life Beyond Limits

Assignment 208: Research: David Bailey: Portrait Photograhers

David Bailey:  Leytonstone, 1938

My inspiration for including David Bailey in my research of portrait photographers was a book entitled 'Photography in 100 Words' by David Clark.  The image that was used in the book was a black and white portrait of Noel Gallagher - this is image is high contrast black and white, and provides high definition and texture to his face through limiting the depth of field - every wrinkle, pore and hair is highly defined. 

David's aim is to make the shoot as simple as possible - using a white background to eliminate distraction. He aims for simplicity, combined with what he terms the perfect accident.  A reoccurring theme with the portrait photographers that I have research is again echoed through David's view of his work - he aims to get to know the person, put them at ease by talking to them - throughout the sitting he will continue to talk - seeing this as part of creating the picture

 This photo caught my attention - The inclusion of the tatatoo reveals a little more about the subject than you would get if you focused just on the face.  This image has helped me to understand how you can capture good facial portraits without the need to crop in so tightly - and that inclusion of other elements of the person can help to define the image.

In both this image and the previous image the lighting has tended to concentrate on one side of the face adding to the image and drawing you through the image.

I picked this image for how the expression captures the 'madness'.

The definition in this picture helps define part of the persons character in contrast to the softer images also shown in this blog.

Generally you will find that portraits will concentrate on the eyes - but in this image the fact that the eyes are closed is what makes the picture compelling - you are waiting for him to open his eyes. 

This image also has less definition and has a 'softer' focus - almost a smoothing out of the skin - a similar style to the portrait of the women.

This image really typifies the simplicity of David Bailey's work - even the simplicity of the clothing worn by the Beatles provide minimal distraction from the main focus of the image - the symertary  of the body language.

References:

Photography in 100 Words - David Clark 

Google images 

wikipedia.org/wiki/David_Bailey

http://news.bbc.co.uk/1/hi/entertainment/1390510.stm

Assignment 208: Eve Arnold: Research into Portrait Photography

Eve Arnold: 1912 - Philadelphia

Eve Arnold is one of the most famous portrait photographers to represent Magnum, and is possibly best known for her portraits of Marilyn Monroe, she is also well known for her portraits of Queen Elizabeth II.  

During an interview with BBC Radio 3 she talked about her approach to photography and how she works to achieve the images.  She talks about the relationship between the photographer and the model and how it is important to respect the privacy of your subjects, and work to build a relationship that will have the model reveal something of themselves.

This approach echoes that of other portrait photographers that I have researched - Jane Bowen and Steven Pye.  

Again her images are largely taken away from the studio environment and rarely used anything other than natural lighting.

Many of the images I have selected as work I would like to emulate are black and white, with minimal or no surroundings to provide additional context to the photograph.

The black and white images are done in high contrast, providing greater emphasis on skin tone's and drawing the eye into the main focus of the picture.

The next few images I have chosen retain the same composition - minimal background distraction drawing the focus on to the model - the difference in these images are that these are in colour.

I was interested in bringing these images into the research as a demonstration that the same 'gritty' definition of high contrast black and white can be achieved in colour.

The colour in these two images are not highly saturated, but placed against the deep black background the images become striking.

This may also be in part due to the subjects chosen - with their faces having significant texture to provide interest and emphasis within the image.

Reference:

www.photography-art-cafe.com/famous-portrait-photographers.html

www.magnumphotos.com

www.bbc.co.uk/radio3/johntusainterview/arnold_transcript.shtml

www.picsearch.com

en.wikipedia.org/wiki/Eve_Arnold

Assignment 208: Steve Pyke: Review of Selected Portrait Photographers

Steve Pyke - Born 1957 -Leicester

"For me photography is the investigation into the nature of being"

Steve Pykes trademark is to fill the the frame with the sitter's face. He wants the photograph to capture every texture, wrinkle and blemish of the sitter. This is achieved through the use of close-up attachments on a fixed lens to allow the camera to be placed very close to the subject.  He would more often take the photo in the sitters home to create a relaxed, intimate atmosphere - taking photo's whilst engaged in conversation with the sitter.

This particular image is from his World War II hero's.  The total focus on the face at such close range draws you to the lines on the face, the angle of the mouth conveys a sense of despair.

I liked this image because it took a different view to Jane Bowen's self portrait through a mirror.  In this image the harsh flare of the light in the mirror, and the partial image of the person 

Many of the images that I have selected so far for my portrait review have been black and white - this hasn't been by design - but as a result of the textures, and shades that come through the image of the person in black and white - these two colour image of Steve's attracted me as it showed that the type of image I'm finding interesting does not have to restricted to black and white.

The next images of Steve's demonstrate the power that the eyes can have on a photograph.  If you compare the image of Sinead O'Conner, a press shy musician, where the eyes were totally sheltered from   view capturing this sense of privacy - in these images the composition of the image is very direct, full frontal with the eyes being the focal point of the picture.

The photographers that I have selected so far have gone some way to helping me understand how to get the best out of the sitter - through personal engagement, and a glimpse into how to create the right effect to draw the attention to the texture and emotions of a persons face - lighting and proximity both have a place to play in this.

Also the angle of the of the portrait can convey a particular emotion, a sense of the person's personality.

So far my research has drawn me to single portraits in black and white.  Whether by design or by the nature of my search.  My next photographer takes us a step away from the gritty black and white single portraits to a photographer who focused on capturing images of the world around him.

Assignment 208: Jane Bowen: Review of Selected Portrait Photographers

Through my research the following photographs and photographers are the ones that I felt provided an ambience and structure that I want to bring into my final images.

Jane Bowen: 

Born 1925 - Dorset.  

"The best pictures are uninvited, they are suddenly there in front of you..easy to see but difficult to catch"

This photograph of Jane is a self portrait taken in a mirror.  What I like about this image is the contrast between the background and the subject - Jane has managed to capture the image without flare from a flash (as she hasn't used one), and without any hint of a shadow in the background.  It captures the essence of who Jane and what she is about.

Jane worked almost exclusively in black and white photographing some of the most famous people of the 20th century.  She strove to use natural light to capture her subjects - situating them close to a window or in a stairwell, or outside.  Her aim was to be unobtrusive, to get the sitter to relax and by using only natural light she was able to achieve this 'invisibility' to allow her to capture the essence of a person.

Jane liked to capture the essence of her subjects in way that they felt comfortable - and saw portrait photography as a joint achievement - for example in the image of Sinead O'Conner above.  Sinead was renowned for being press shy and the above portrait brings this out through the angle of the head and the lack of eye contact. however the strong light across the face and the tight crop of the photo draw you in.

This picture of Bjork demonstrates further how Jane believed that the process of a great portrait was a combined effort - as well as the skills of the photographer to bring out the personality of the person they needed to be relaxed and you need to be patient waiting for the 'pose' to present itself through some gesture as in Bjorks hands over her face.