$name = "Stephen Barney";
echo "Hello $name. How are you doing today $name"
$name = "Stephen Barney";
echo "Hello $name. How are you doing today $name"
One of the downsides of being unemployed at the moment is the limitation on being able to go to study visits due to funding, however I have discovered that there are many exhibitions on line. There was an amazing and truly poignant exhibition held at the Metropolitan Museum of art between 2012 and 2013 called “Faking It” this was an exhibition of manipulated photography before photoshop. It is useful because it dives heavily into the reasons for the manipulation and looks at the origins of the combination photograph, photo-montage and other types of manipulation.
For clarity here is the description of the exhibition in their own words
Faking It: Manipulated Photography Before Photoshop (no date) Available at: http://metmuseum.org/exhibitions/listings/2012/faking-it (Accessed: 27 August 2015).(Faking It: Manipulated Photography Before Photoshop, no date)“The urge to modify camera images is as old as photography itself—only the methods have changed. Nearly every type of manipulation we now associate with digital photography was also part of the medium’s pre-digital repertoire: smoothing away wrinkles, slimming waistlines, adding people to a scene (or removing them)—even fabricating events that never took place. This international loan exhibition traces the history of manipulated photography from the 1840s through the early 1990s, when the computer replaced manual techniques as the dominant means of doctoring photographs. Most of the two hundred pictures on view were altered after the negative was exposed—through photomontage, combination printing, overpainting, retouching, or, as is often the case, a blend of several processes. In every instance, the final image differs significantly from what stood before the camera at any given moment. Whether modified in the service of art, politics, news, entertainment, or commerce, the pictures featured in the exhibition adopt the seamlessly realistic appearance of conventional photographs. They aim to convince the eye, even if the mind rebels at the scenarios they conjure, such as a woman bathing in a glass of champagne or a man brandishing his own severed head. Over the past two decades, digital technology has made us all more keenly aware of the malleability of the photographic image, and many lament a loss of faith in the testimony of the camera. What we have gained, however, is a fresh perspective on the history of the medium and its complex relationship to visual truth. Through today’s eyes, we can see that the old adage “the camera never lies” has always been photography’s supreme fiction.” (Faking It: Manipulated Photography Before Photoshop, no date)
The exhibition contains 203 images, and is accompanied by a free iPad app and a catalog which can be bought on line for $60. I found the iPhone app to be amazingly useful it has a game that presents 10 images at a time and asks you guess what changes were made then it asks you to guess why. The last part is very useful for my A5 research as it looks at the reasoning behind manipulation that my tutor wants me to consider.
The exhibition is a rich bounty of pre Photoshop manipulations with a wide and divers set of reasons behind them. Looking at this exhibition has given me quite an insight into the reasoning and justification behind the early manipulators of photos.
The image Dali Atomicus by American photographer Philippe Halsman featuring the surrealist artist Salvador Dalí shown here:
In the iPad quiz it explains that the image was created simply to mimic the style of Salvador Dalí’s work, it was an artistic impression, the tile of the image is a reference to the painting Leda Atomica by Salvador Dalí which can be seen on the easel.
This version of the image which was origninally published in Life Magazine is the un retouched version still showing the wires.
It is said it took 28 attempts to get this image right, as assistants threw a bucket of water and the three cats into the air while Dalí jumped for the image. I do wonder how the taking of this image would be viewed today as people often have a problem with the idea of throwing cats!
The top cat is definitely getting something of a soaking as can be seen by its tail.
This image shows thyat manipulation can be done in one shot (or 28 in this case) most of the faking was with props like the wires and then the retouching that happened after the event to remove the wires we can see here.
This is the retouched and published version:
To view the complete exhibition follow this link unfortunately due to copyright issues a lot of the images are no longer view-able but there is still a lot to see
This was something of a first, my camera club holds an annual photographic exhibition in Fleet at the Harlington center. This was my first opportunity to hang some of my images in a public exhibition.
I was asked to submit 15 images in total, I displayed 5 individual images and the 10 images from Assignment 5 Monochrome.
we turned up at about 8am to set up the hall, the club owns a set of free standing boards and we were give velcro corners to hang our mounted prints.
I spent several hours the week before cutting mounts and mounting all of my images. The final result was pleasing we had quite a large traffic of people through the exhibition as it is connected to the library and the community center which provided a steady stream of people. the whole exhibition was very well received and I was very happy with all the positive comments my images received.
First here are some of the images from the day taken with an iPhone so not always the best quality:
In conclusion, it was rather exciting to have my images on public display for the first time the two day event was really good fun and lots of people got to see my work. I will absolutely do this again next year and hope to have even better work to display.
With the Studio obsession truly imbedded I finally took the plunge and booked myself on to a studio workshop day at the Scarlet Door under the tutelage of the most wonderful Shawn Bishop.
The Brief was as follows:
A 4 hour workshop in basic lighting which will include Art nude, fashion and fashion nude set ups including high key nude, low key lingerie and fashion nude set ups. Hosted by Shawn
This course will be limited to 6 attendees only, giving everyone a good chance to shoot 1 on 1 within each set up. although a workshop there will be no group/Paparazzi shooting.
These workshops are proving to be very social events and are suited to amateur and experience photographers alike, those starting out in studio environment can learn the basic of set ups to achieve the best results, Those with more experience often use these events as a great portfolio builder.
The first set was a high Key Page 3 style set up with a bright white background. The model was the very bubbly Harley Gacke who was another extremely profession model who did as much to put us at ease as we did to make her comfortable. Using the High Key setup we shot 3 styles, where the model changed outfits Bikini, Lingerie and topless. The last being something of a first for me was far less awkward than I had imagined and just flowed by like any other set.
The second lighting setup was the Hard lighting hard shadow set used by magazines like Nuts and Loaded. We just shot one clothing change for this.
The third set was a low key art nude setup though the model wore lingerie for both sets. We ended up doing two clothing changes because the first outfit was a full top and part of the reasoning behind this setup was to highlight the stomach muscles and body curves as you would with a nude model so we did a second wardrobe change where Harley wore a red bra and pants so that we could accentuate the muscles in the stomach around the belly button. The second wardrobe really worked much better and I learned a lot about setting the lights to accentuate form.
In the third set which was a full art nude lighting setup where none of the lights fell directly on the model and the background was low key. We used a lot of reflectors to bounce the light back on the model. This was probably the most complex set up of the evening but the results was excellent. Although this was the art nude set up the model was not nude we shot with a black bra and pants the swapped to white to demonstrate the effect it had on the lighting and the exposure set up in the camera.
We learned to take the shots in blocks at different focal lengths. this allowed the model to pose properly depending on the requirement for full length three quarter or close portrait. I found that letting the model know how I was cropping the frame gave much better posing results.
Harley was so professional and like Kristina had an auto pilot that I could switch on and off as required. The big lesson being let the lights keep up with the photographer as they have to charge between exposures and there is a danger of blowing them if you stress them too hard. Another valuable tip learned before a costly mistake.
Shawn is a brilliant teacher and the workshop was a big learning event. Again I wish I had documented the lighting sets, it is something I will do on the next ones I do.
I learned during the editing that I need to be more aware of the space around the model as some really great shots were lost by an elbow going out of frame or some similar basic mistake. I think I was just working too fast at this workshop and I definitely slowed down on the next one.
I learned that I need to direct the model more especially the facial expressions I want as some of the best posed were ruined by a big smile, go figure! Harley has a big infectious smile and sometime we need a different expression.
All in all it was well worth doing and I am signed up do do more of these as they are such good learning sessions. I know that what I want to do with this learning is actually quite far from the type of images I am getting from these workshops, however these are an essential primer for that development and they are a real fun way to get where I want to go.
The 18th of March was my daughters 22nd birthday and we all went to London Zoo for the day, I could not help but insist we visit the Landscape photographer of the year at Waterloo Station as we were right there.
Waterloo now has some raise platforms and upstairs shops. these platforms were transformed into an exhibition space for this display. This is what the director of properties for network rail had to say about the exhibition:
“This competition celebrates something very special – the way this country looks from its coasts, cities and countryside, much of which can be viewed or visited by our rail network. Hosting this competition at Waterloo station lets us share these amazing images with the millions of people travelling through and using Britain’s busiest station.
This is the first time we’ve hosted an exhibition of this type and it’s another step in making stations a destination for people to meet, eat and shop as well as use the train. We’re proud to support this exhibition and inspire people to travel and see the very best Britain has to offer.”
David Biggs, managing director of property at Network Rail
The categories for the competition were as follows:
You can see the full award winners Here http://www.take-a-view.co.uk/2014-award-winners/
Landscape Photographer of the Year 2014 Judges choice – Winner Mark Littlejohn
Young Landscape Photographer of the Year 2014 – Winner Sam Rielly
‘Countryside is GREAT’ Award – Winner John Robinson
|The VisitBritain ‘You’re invited’ Award – Winner Sven Mueller|
|The Sunday Times Magazine’s Choice – Winner James Osmond|
Network Rail ‘Lines in the Landscape’ Award – Winner Stephen Bright
Adult Classic view – Winner Dave Fieldhouse
Adult Living the view – Winner Jo Teasdale
Adult Urban view – Winner Daniel Cook
Adult Your view – Winner Rob Oliver
Youth Classic view – Winner Jake Pike
Youth Living the view – Winner Sarah Dobler
Youth Urban view – Winner Christopher Page
Youth Your view – Winner Mairi Eyres
A really beautiful exhibition, I enjoyed browsing the images and was encouraged by the skill of the young photographers. I think this is a great way to put on an exhibition which was completely free and open to the public. It made no pretense, anyone could browse up and look. Well done Network Rail for housing it for so long.
An exciting event on the 10th of January, it was my first studio workshop run by the wonderful Mark Grey in his studio in Basingstoke.
This is what we were told:
To provide participants with essential knowledge & skills in order for them to be able to set up and run their own studio session.
|09:30 – 10:15||Make Up||Theory Talk|
|10:20 – 11.00||One Light||Low Key||Portrait|
|11:10 – 12:00||Three Light||Dramatic|
|12:10 – 12:50||High Key Set Up Silhouette,White Seamless|| White Background
Long Dress/Figure Hugging
|Long Flowing Dress|
|3:00 – 13:45||LUNCH|
|14:15 – 15:10||Clamshell||Portrait|
|15:15 – 15:50||Bare Bulbs||Portrait|
|16:00 – 16:40||Snoots & Gels||Portrait||Implied Nude & Smoke|
|6:45 – 1730||Dramatic Portrait||Athletic||Low Key|
The event was a well run session in Marks Studio in Basingstoke, I was joined by 4 other photographers and Mark himself. Each part was well explained as Mark knows what he is doing and was very clear about what we were doing and why. He let us adjust the equipment so we got used to handling all of the lights and modifiers and setting up the required set.
One of the great parts was his instruction on greeting and getting comfortable with the model, who was the lovely Kristina Jeromina. Kristina turned out to be a very professional model who was a perfect subject for someone new to the studio.
Kristina had a kind of auto pilot for poses and it was possible to ask her to just rotate through a set of poses all of which she knew did not do horrid things with foreshortening and other no no’s of studio photography.
A lesson I learned here is that there is such a lot to learn about using a model in a studio, from the technical stuff with the lights, to posing and interacting with the model. One of the nice parts about this workshop was the fact that Mark had all of this covered and talked us through it all. We did get a chance to get the model doing the things we wanted her to so there was some practice on directing the model and guiding the shot. I did learn that some direction can be so cheesy there is something distinctly wrong listening to an old man telling a beautiful young model to pretend he is her boyfriend, I never want to go there! In my head I could imagine her throwing up at the suggestion.
A second lesson was that there are so many subtleties in lighting set up and the chances of remembering it all without lots of practice are slim. I think my biggest mistake was not drawing each lighting setup or photographing it as an aid memoir. In fact I have now done three workshops and its only now writing this up that I am learning this painful lesson.
I was over the moon with the results here are some of the edited shots from the day
This was a superb day of learning and fun with a camera. It has started a studio obsession in me which I am pursuing quite aggressively. There is so much to learn and I am hungry to learn as much as I can.
Mark was a great teacher for the day and gave us lots of sage advice and instruction. He left me with a lot to think about, I will have a lot to take in before I feel completely confident to take charge of the studio under my own steam. I am, However, determined to make this journey.