Backtracking: Body
Initial Ideas
Upon receiving the brief I immediately began to consider some possibilities for people I could ask to become the subject of my work. Initially I came up with two ideas which are as follows:
1. My first idea was to ask one of the ladies who worked in the sweet shop on Rochester high street as I had been in there a few times and the lady who often served me seemed to have a very positive attitude and always had a smile whatever the day. I immediately began to think of lighting I could use to portray this side of her and I came to the conclusion that I would like to create quite a warm atmosphere around her with as few harsh shadows as possible.
2. My second idea was to ask someone who worked in a local supermarket, as I myself work in one, and to then find out some more about them as I feel that people never seem to see those who work in supermarkets as anything but workers. I knew that before I could decide on any lighting decisions and suchlike, I would have to choose the person I wanted to work with.
Final Idea
Above I explored some possible options for people to photograph; however, my final idea was one that is completely separate from those above.
I regularly take part in a military simulation sport called Airsoft and it was here that I found my portrait’s subject. I am quite a shy person by nature so, apart from the four people I attend the sport with; I don’t tend to talk to others around me. During one particular occasion, one of the regulars caught my eye. I had seen him at the site quite a lot but never been brave enough to talk to him. I was that fact that made me decide that it would be good to ask him to be my subject as it gave me an opportunity to talk to him and learn about the type of person he was from scratch.
At first I was quite nervous as he was quite a loud person and the only time I’d heard him talk in the past was when he was shouting orders at people. However, when I approached him, he was a very nice person, very relaxed and not at all like I had first thought. On this occasion I only talked to him briefly but he agreed to be my subject, pending the date of the shoot. One of the first things I learned about him, other than his name (Patrick McGarry), was his job outside of the world of Airsoft. He was a college and university lecturer. This gave me my starting point for my research.
Research
As I now knew Patrick was a lecturer, I wanted to focus on that within my project. Due to this my first port of call was to find a photographer that shot quite distinguished and educated people. After much searching I found Yousuf Karsh. My initial research and analysis of some of his work is below:
Jean Sibelius, 1949
Sibelius was a Finnish composer. His music played an important role in the formation of the Finnish national identity. In this respect Sibelius can be considered a well educated individual.
The posture directed to him by Karsh (hand on heart, eyes closed) suggests a strong sense of patriotism. Karsh described the structure of Sibelius’ face as reminding him “of carved granite, yet with infinite warmth and humanity”. The dark backdrop emphasises the shadows cast on the subject’s face and the prominence of the marks and age lines that are also present; this may be so as to show that Sibelius has had many years of experience of the world. Overall I feel that this portrait has been taken to show the worldly experience Jean Sibelius has gained and his love for his music and country.
Source: http://www.karsh.org/#/the_work/portraits/jean_sibelius/
Albert Einstein, 1948
As with his portrait of Sibelius, Karsh appears to have taken this image so as to display the deep educational background and knowledge held by Einstein himself. His pose and distant gaze suggests deep thought and, again, shadows are used effectively to show the lines of age upon Einstein’s face. His eyes show a story of both great knowledge but also sadness. Karsh spoke of this when he described his meeting with Einstein: “He spoke sadly, yet serenely, as one who had looked into the universe, far past mankind’s small affairs”. Overall I feel that this portrait effectively portrays how most people believe Einstein to have been. And, from his time spent with the great physicist, Karsh adheres also to this belief.
Source: http://www.karsh.org/#/the_work/portraits/albert_einstein
François Mauriac, 1949
Mauriac was an author and laureate of the Nobel Prize in Literature. When Karsh took the photograph there was no electrical power in Paris at the time, forcing him to use a bed sheet as a reflector to capture a silhouette of Mauriac using the light of an open window.
Mauriac’s posture once more makes him look as though he is deep in thought and suggests that he is, like the former two portrait’s subjects, an educated gentleman. The silhouette gives Mauriac a mysterious air and allows the viewer to think about what might go on in the mind of a famous author such as François.
With my initial research of Karsh and the basic idea of how I wanted my portrait, the next step was for me to attend my tutorial.
Tutorial and Development
My tutorial took place on the 22nd of November and it was there that I explained my initial thoughts on the portrait I wanted to create. After discussing how I met my subject and what I had learned about him so far it was recommended to me that I research the following photographers:
o Arthur Tress
o Richard Avedon
This was the next step on my list to complete. My results are as follows:
Arthur Tress
This portrait by Tress is called Bride and Groom, New York, New York and was taken in 1971.
The reason that I chose this portrait to analyse is that one of the other possibilities for my portrait was to have Patrick dressed in a suit with maybe camouflage face paint and a military style helmet on his head so as to symbolise two of the prominent sides of his personality.
This piece by Tress comes from his series Theatre of the Mind and would seem to be a parody of a straightforward marriage. However it also seems to suggest an air of self identity and confidence in one’s own self and beliefs. The hand raised by the gentleman side of the figure suggests that an oath is being taken which may be seen to have two meanings: that of taking an oath of marriage and that of taking an oath of understanding of himself as a person. On the other hand, it could be said that Tress questions the foundations of gender in this amalgamated form of a single person.
After researching this image I do not think I will pursue this type of portrait any further as I do not feel that it is the type of photograph that I want to create.
The image to the left is a portrait of Cole Porter, the famous composer and songwriter, in 1950.
This portrait gives the initial appearance that Porter is quite a well educated, formal man on account of his posture and his attire. However his posture may also have been chosen by the artist so as to work with Porter’s disability, acquired through a horse riding accident in 1937. The plain mise-en-scene allows Porter to become the main focus of the piece and enables Avedon to shape him accordingly.
I think this image has a similar feel to Yousuf Karsh’s, however I feel Karsh, unlike Avedon, includes softer shadows and makes the subject seem more natural in his surroundings. This is what I would like to do with my portrait.
From this research I feel that I have explored more possible options for my portrait but I would overall still like to do it in the style of Yousuf Karsh.
Studio Days
Throughout the course of this project there were a number of studio days that gave us an insight into some of the aspects of portraiture. Below are the outcomes of the workshops.
18th November 2011 – The Subject’s Gaze: Rembrandt to Kirstens
This workshop was designed to introduce us to the idea of Rembrandt lighting. Rembrandt lighting involves an illuminated triangle being cast under the eye of the subject, usually on the less illuminated side of the face. It was named after the Dutch painter of the same name who often used this type of lighting in his work. Some examples are shown below:
This style of lighting allows the artist to create a natural and compelling image by a simple means.
Our task for this workshop was as follows:
Using lighting inspired by Rembrandt, make a series of images that consider the power of the gaze.
Make a series of portraits of your assistant that depict the following:
1. Vulnerability
2. Pride
3. Intimacy
4. Aloof
The equipment we were required to use for this setup was as below:
o Mamiya RZ Medium Format Camera
o A Light Meter
o 110mm Lens
o A Tungsten Light
o White Poly Board Reflector
The negatives and contact sheet I produced from this workshop are below:
The setting used on the camera for each pose is detailed below:
Vulnerability : 1. ⅛ second, f.16
2. ⅛ second, f.16
Aloof: 1. ⅛ second, f. 4.0 and 6 tenths
2. ⅛ second, f. 4.0 and 3 tenths
Pride: 1. ⅛ second, f. 8.0 and 4 tenths
2. ⅛ second, f. 4.0 and 2 tenths
Intimacy: 1. ⅛ second, f. 2.8 and 9 tenths
2. ⅛ second, f. 2.8 and 7 tenths
From this workshop I have learnt the differences between Ilford Delta 100 and Ilford Delta HP5 films and the advantages of using each. For instance the 100 will provide more contrast however the HP5 will allow you to work with a faster shutter speed.
I have also learnt about Rembrandt lighting and how it emphasises the features on the face.
25th November 2011 – Posture and Pose: Uniform and The Clothing of the Body
This studio day gave us an insight into how clothing and positioning of the body can influence a portrait.
Our task for this workshop was as follows:
Using fill – in flash, carefully consider posture, props and clothing and make a series of portraits that depict 3 of the following:
o The Worker
o The Intellectual
o The Sales Assistant
o The Waitress
The equipment required for this shoot is listed below:
o Mamiya RZ Medium Format Camera
o A Light Meter
o 1 Key Light
o 1 Fill Light
o Remote Slave
o Prolite Extension Lead
From this workshop I have learned how to use a fill light and that the difference in F Stop between the key and fill light are most commonly either -2 or -3 stops depending on the type of lighting required. I have also learnt that when using this setup, the camera must be set to mirror the F Stop of the key light.
In terms of positioning I have learnt that considering the lens choice carefully when given a brief is a big step in terms of how the final image will look. I have also learnt that consider the shoulder position of the subject can have a large effect on the final outcome.
2nd December 2011 – Lighting Set Up
This workshop was included to give us some idea of the different lighting setups we could use for our final portrait.
The first setup was as below:
This particular setup gives a high key lighting rim around the subject.
The ratio of key light to fill light for this setup was 3:1 with the key light at f. 16 and the fill light at f. 5.6. The camera was set at f.11 to allow one stop of light from the key lights.
The second setup was as below:
This setup allows for very directional light to be cast on the subject with the fill light being used to fill in the shadows on the darker side of the subject.
This lighting set uses a 3:1 ratio with the key light at f. 11 and the fill light at f. 4.0.
The final setup was as follow:
This lighting gives a bright white background and makes the subject stand out stark from the background.
This workshop has given me some ideas about how I would like the lighting for my final portrait piece.
Set Layout
The workshop on lighting setups gave me foundations to create my own setup that would suit the style of portrait I wanted to shoot.
After using an internet lighting diagram tool (Sylights.com) I came up with the following setup:
After talking to my tutor I decided to include a fill light at the front of the set and also to change the backdrop to white from black and just position the camera and subject so that the background appears black.
My final lighting diagram looks as follows:
The key light and the fill light in my setup have a ratio of 2:1 with the key light at f. 16 and the fill light at f. 8 with the camera set at f. 11.
Shoot Day
Wednesday 14th December 2011 was my shoot day. I was planned to shoot between 12pm and 2pm so I got into the studio as early as I could to get the space I both wanted and needed. I was set up by 10am. The photos below show my set:
The equipment I used for my shoot is as follows:
o Mamiya RZ Medium Format Camera
o 110mm Lens
o Ilford Delta 100 120 Roll Film
o White Backdrop
o 2 White Reflectors
o 2 Broncolor Lights (Key)
o 1 Prolite Light (Fill)
o 1 Softbox
o 1 Power Pack
o Remote Slave
There was still some time before my subject arrived so I got to work doing a test shoot using my assistant, Holly, as my stand in model. The statistics for the shots are below:
Background: White at f. 2 and 5 tenths
1. 1/400, camera f. 11, broncolor f. 16, prolite with softbox f. 8, 2:1 ratio
2. 1/400, camera f. 11, broncolor f. 16, prolite with softbox f. 8, 2:1 ratio
3. 1/400, camera f. 11, broncolor f. 16, prolite with softbox f. 8, 2:1 ratio
4. 1/400, camera f. 11, broncolor f. 16, prolite with softbox f. 8, 2:1 ratio
5. 1/400, camera f. 11, broncolor f. 16, prolite with softbox f. 5.6, 3:1 ratio
6. 1/400, camera f. 11, broncolor f. 16, prolite with softbox f. 5.6, 3:1 ratio
7. 1/400, camera f. 11, broncolor f. 16, prolite with softbox f. 5.6, 3:1 ratio
8. 1/400, camera f. 11, broncolor f. 16, prolite with softbox f. 5.6, 3:1 ratio
9. 1/400, camera f. 11, broncolor f. 16, prolite with softbox f. 5.6, 3:1 ratio
10. 1/400, camera f. 11, broncolor f. 16, prolite with softbox f. 8, 2:1 ratio
After completing the test I was able to identify the lighting ratio I wanted for the rest of my shoot and also find any problems that occurred and fix them before my shoot began properly.
I decided to shoot on a 2:1 ratio with a softbox on the fill light to make the light softer.
One problem I encountered was the shadow of the glasses being cast starkly on the lower eye line of the subject. To solve this problem I simply levelled the fill light with the subject in order to eliminate the shadows.
After sorting out the final details of the shoot, my subject arrived and I could begin shooting. I had two rolls of films to shoot so I could experiment a bit with the effect I could achieve. I briefed my subject about how I wanted the image to look and showed him some of my researched images so he had a clear idea of how I wanted my final portrait to look.
The specifications for the shots I took are below:
Roll 1
Background: White at f. 2 and 8 tenths
1. 1/400, camera f. 11, broncolor f. 16, prolite and softbox f. 8, ratio of 2:1
2. 1/400, camera f. 11, broncolor f. 16, prolite and softbox f. 8, ratio of 2:1
3. 1/400, camera f. 11, broncolor f. 16, prolite and softbox f. 8, ratio of 2:1
4. 1/400, camera f. 11, broncolor f. 16, prolite and softbox f. 8, ratio of 2:1
5. 1/400, camera f. 11, broncolor f. 16, prolite and softbox f. 8, ratio of 2:1
6. 1/400, camera f. 11, broncolor f. 16, prolite and softbox f. 8, ratio of 2:1
7. 1/400, camera f. 11, broncolor f. 16, prolite and softbox f. 8, ratio of 2:1
8. 1/400, camera f. 11, broncolor f. 16, prolite and softbox f. 8, ratio of 2:1
9. 1/400, camera f. 11, broncolor f. 16, prolite and softbox f. 8, ratio of 2:1
10. 1/400, camera f. 11, broncolor f. 16, prolite and softbox f. 8, ratio of 2:1
Roll 2
Background: White at f. 2 and 8 tenths
1. 1/400, camera f. 11, broncolor f. 16, prolite and softbox f. 8, ratio of 2:1
2. 1/400, camera f. 11, broncolor f. 16, prolite and softbox f. 8, ratio of 2:1
3. 1/400, camera f. 11, broncolor f. 16, prolite and softbox f. 8, ratio of 2:1
4. 1/400, camera f. 11, broncolor f. 16, prolite and softbox f. 8, ratio of 2:1
5. 1/400, camera f. 11, broncolor f. 16, prolite and softbox f. 8, ratio of 2:1
6. 1/400, camera f. 11, broncolor f. 16, prolite and softbox f. 5.6, ratio of 3:1
7. 1/400, camera f. 11, broncolor f. 16, prolite and softbox f. 5.6, ratio of 3:1
8. 1/400, camera f. 11, broncolor f. 16, prolite and softbox f. 5.6, ratio of 3:1
9. 1/400, camera f. 11, broncolor f. 16, prolite and softbox f. 5.6, ratio of 3:1
10. 1/400, camera f. 11, broncolor f. 16, prolite and softbox f. 5.6, ratio of 3:1
Outcome
The main thing I am unhappy with within the shots of the small slivers of backdrop and reflectors that made it into the shot. I am going to try to crop them out when I print.
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