Simon Annaurd V&A London

This images almost looks like it is a mask, with the expression on the face giving that impression, I really like the way this image is presented.

This was taken showing the way that the images were displayed in the V&A, which I believe makes all the difference to the way you view images, especially in public exhibitions. the down side is that the public usually obstruct your view!!
A very different view of Kirsten Scott Thomas backstage. The joy of these images by this author is that you see these people in the un-glamourous and normal state, which means I can relate to them in a different and more normal way.

that pre thought before going on stage and whiling the time away waiting for the glamour to come.

Deep in thought, almost relaxed, one down one to go. what is he thinking about, is it the next session, or what is he going to do after, or reflecting on his performance? This makes the image interesting and as a viewer you keep looking, and you can come to several conclusions, as I have noted above.



Simon Annaurd
Whilst at the V&A last Monday I also went to see the Theatre section, for no reason other than I had not seen it before. Well, a treat was in store as Simon Annaurd had an exhibition of photographs there of his work in the Theatre. The exhibition is called “The Half”. The title of the work is based on the 30 minutes that the cast get to settle and concentrate on their upcoming performance on stage. It is a private time for actors/actresses, and as a result the images he has captured are quite remarkable as this part of their lives are rarely captured.
He has had unprecedented access over the last 25 years, and the results are evident in his approach, which is quite intimate in their dressing rooms (not the most glamorous of places when you look at the photos) which is dependent on the actor/actress themselves. This 30 minutes prior to going on stage has rarely been seen by other than those involved and shows a remarkable insight into that world. These images give us the audience an insight into the fascinating workings of Theatre behind the curtain.
On a smaller scale, I have in the past been involved with a touring opera group and can appreciate the difficulty in getting these images. His portraits are quite unusual, and he has a keen eye for detail. And his images leave a lot to study.
I like the informality of the poses, some of the subjects do not even seem to be aware he is there eg Daniel Graig- others have a look that shows the level of concentration that they are in eg Gillian Anderson, whereas Kiera Knightley is apparently looking at the photographer. Others are in conversation, eg Martin Sheen, or is he practising his lines? The interesting thing is you do not really know what is going through their minds at the moment of the shutter clicking, there is a level of intrigue in each and every image. What we do not know of course is how many images he took to achieve the ones selected. These were taken in the age of film, and he started in the late 70’s
I found it difficult to photograph in the exhibition but I did manage to get some, which also shows how well the images are presented in an exhibition. I am intending to purchase his book, as it fascinating to see these images. The stark Black and White I think show the intimacy of the moments.

Irving Penn Small Traders

Irving Penn Biography (1917 - 2009) – Small Trades.
American photographer noted for his sophisticated fashion images and incisive portraits.
Last Monday I discovered Irving Penn’s little-known portraits of anonymous street traders, taken in Paris, London and New York between 1950 and 1951. I remembered an advert I had seen in a magazine for Penn’s work, but could not remember where it was. But, thanks to the staff at the Barbican I found that the Hamiton’s Gallery was displaying Penn’s ”Small Traders”. I had not come across this part of his work, but how fascinating.
These images have not been seen in the UK, but the Hamiltons Gallery, speaking to Charlie, they have been involved with the Penn studio (now the Foundation since his death) for 25 years.
They were taken over the period from 1950 to 1951, in New York, London and Paris. These images are depictions of skilled street traders (jobs not available in most cases now), and include a Parisian cheese-seller, a locomotive Fireman in London and a Deep sea diver in New York. They are very different to the Penn exhibition currently at the National Portrait Gallery, which are also in Black and White.
He has posed the tradesmen with their tools and implements of their trades, against a neutral background. He also used a similar technique when he was travelling to Peru etc. Did he take the same background with him? This is a different way to take portraits, which until I saw this I was unaware that this is the sort of thing I am attempting in the studio this time round. The pose is very simple, as is the lighting. This seems to come from one direction, but uses his favourite North light. There is however a clue in the image of his studio in Paris in 1950. The poses are very simple, and each subject is treated in exactly the same way, and portrays the subject in a good way, and my favourite that I saw in the collection was the Milkman. He has a wonderful, almost bemused, expression on his face, and it goes with his pose. Each subject was asked to turn up dressed with their work clothes, except the subjects in New York who apparently turned up in their Sunday best, and were sent home to change.
Apparently, he fitted these portraits sessions around fashion shoots and celebrity portraits, with the studio often littered with couture dresses. The results are very interesting, and you do have to look at them, and the prints are superbly presented at the Gallery, but then for between £75 and £250 K they should be.

Award winning Photographer

I only joined the Burton Photographic Society in September, mainly to keep the photography going, and meet up with like minded people, and several guys and girls from the last Level 3 course. Shown above is me with my winning image and cup in the Photographic Society Annual exhibition from last November 2009( me on left of frame!!) The winning entry was one of my favorite images from a shoot I did in Green Park London last year. This image featured a close up of the Canadian Memorial in Green Park. The actual leaves are not Maple, but fallen from surrounding tress, and were photographed as they lay against the bronze sculptured leaves on the memorial.I particulaly like the almost 3D effect, in that on the printed image you can almost pick up the leaves. Also included are Jim and Steve (also from Level 3 course and Burton Photographic Society) showing their winning trophies and images as well. It took some time to organise the photographer for this image though.

Lighting set for Nikki

Here is the lighting set up for my portraits on Saturday(cruelly cut short as we had just got to the stage of knowing what we were doing hic)



The main light was 1.2m infront of Nikki at 2.2m high. The camera,a Canon 400D with 70-300mmmzoom lens, was positioned 2.5m from Nikki. I choose this distance as I had a range of shots from here without moving the camera on the studio stand.I also had the camera tethered to my laptop so that Nikki could see what we were taking. I do not have live view on my 400D unfortunately, which would be useful.

I took a light reading with my Sekonic L-358 lightmeter of f18 at ISO100. I found that I had to use f8 to get the correct exposure, and I have found this when using my new Tamron 70-300mm zoom lens, that I have to change the exposure to get the correct image.

Lighting plan

My laptop will not let me copy the lighting plan to my blog.!!!!!!!!!!!! Nor will it let me copy any videos' over !!!!!!!!!!!!!!!!!! Is it just Vista that is causing the problem???????? No problems using the MAC, but I can't on that in the next few days, so frustrating not being able to get on with anything !!!!!!!!!!!!!!!!!!

New Quay Wales web site

http://www.newquay-westwales.co.uk/beaches.htm Check this site out, also mentions dolphins. Would we be that lucky? There seems to be lots of parking on National Trust beach car parks, so that may be one expense out of the way as it is free for members. I am a member, anybody else? It is 155 miles via Shrewsbury and Aberystwyth, and takes 2 hrs 40 mins according to Autoroute. Tide times for April Sat 10 -- 0630 4.0 m 1857 3.9 m

Soton on saturday

Off to see Saints v Leeds on Saturday, so will not be at College. But, I am taking my camera and hope to get some good shots, not sure whether I can get any at the match though. Hope I can take my camera in, as I will be in Soton all day. Like the idea of the trip on Saturday 10th April. Sounds brill going to photograph seascapes and things. I will bring my Parasol, and winter warmers! Bucket and Spade anybody?

A day Networking

L3
Based on my themes we went out and had to play golf whilst discussing my job prospects, a good networking day, and lots of advice.
Took these shots as part of my Portrait/product theme, but they do need some work. The sun was good but it was difficult to get everything alright. The creation of shadows was interesting, especially with the club and ball. As we were actually playing

The basis of the game is a club and a ball.

Sometimes you are not sure where the ball has gone.

Some balls are oval, well, mine seem to be with the direction they go in.

Some balls just ask to be hit.

Some people just rest.

I'll take the flag out for you Eric.

Sometimes the ball just does not want to in (not set up, actual Play)

Apologies to Penn

L3
Just a start of some of the images taken on Sunday 7th March 2010. Many thanks to the models who crambed themselves into Pip's wall, which was an excellent idea. It just needs one more brick in the wall! The light was great for the day, such alot of it. The lights were not used here, just the natural light from the overhead skylight and side windows. The sun was out but did not have any direct influence. These will not be the finished article, but the idea is there.

Perhaps I have cropped this too tight to give the Penn look, but I do like the effect, and Pip does look quite uncomfortable, but proved to be a willing model.

This one was very much an unposed shot, and Pip was not too comfortable being put into this position.

Suzy was not comfortable being in front of the camera.

You will stand in the corner! and stay there!

I think I have achieved the result I was looking for here because Penn's subjects felt awkward when put into this position.

Sunday 7th March set ups

L3 Here are some setups from Sunday, some curtesy of Suzypaws, except the one she is in of course, and general set ups. Pip's "Keeler" chair Pip in action

Where's the dog gone?

Here he is.

Best model ever.

Focus on imaging exhibition NEC 8th March 2010

Visited this exhibition today with Ruth to day. Arrived at Midday, left on closing. Some day. So much kit to look at and be tempted with. The outstanding bits for me were:- 1. The talk (very short) by Jo Cornish on his landscape photography. The amount of work that he puts in, and the way he constructs his images was quite revealing. The use of several filters for example to get a balanced exposure was quite interesting, as was his presentation of a very long panorama he had done (see video). He also uses a range of large format cameras, some digital, all of which escape me at present. Ruth had her picture taken with him, which was a delight for her, taken by an extraordinary photographer of course. 2. Asking a question about the Interfit lighting system lead to a discussion about how to use and utilise lighting, including how to change the bulbs, the life of a bulb, the advantages of using Interfit lights over Bowens for changing bulbs (Interfit you can do yourself, Bowens you have to send away eg). The chap was Paul Simmons, who is actually a Hair and Beauty Photographer, taking something like 2000 images a week, using Interfit lights. Interestingly their continuos lighting systems feature energy saving bulbs (see image) If only I had the cash the price of the Canon 5D Mk II was really low (and 1D!) and the price kept dropping. Missed a trick there me thinks, but cash is cash, buy now, eat later? The range of kit was overwhelming, do we really need 12 or more different bits of software to manipulate our images, all better than the other? I did find that the people manning the stands were very helpful and knowledgeable, and happy to discuss any question asked of them. I do want one of the ring flashes that the guy on the HP stand was using though, no setting up lights, just ambient, with excellent results, looked like there was no requirement for photoshop here, the images seem to perfectly exposed. I did not have time to try it out, never mind. Came back with a Canon(not a garish yellow Nikon)bag full of stuff, lots of research material though, and lots of web sites to visit.

Portrait photography

PORTRAITS FROM CONCEPT TO REALITY

(with apologises to some Comments taken from a Master class by Lord Snowden).

Portrait can sound too pompous, can I take your picture sounds too naff, can I take your image, sounds too personal. There is nothing magical about taking photographs of people. The most important thing is for the photographer, who really is unimportant, to be first of all inquisitive, and secondly to be totally involved, having done as much research on the subject a possible.

The secret of a great picture lies in understanding the person you are photographing. You are more likely to get something interesting if you find out a little about the person beforehand. And besides, it’s more flattering for whom you are photographing.

It’s good to be nervous. If you stop being anxious and start being too familiar with the subject, you’ve lost something. You need the adrenaline to keep your brain ticking over.

Technique should be intuitive. It comes with practice and that is the secret - to keep taking pictures. Enthusiasm is infectious, and can often reward you with a smile or an expression from the most isolated of figures.

But smiles aren’t everything. You set the tone of a photograph according to the mood of the subject. Photographing a person is an extremely intimate affair. You must light that person according to how you feel about them. If they are serious, perhaps one light from above will do, with hard shadows falling across the face. Watch for the nose though, there’s always a shadow present under the nostrils, often requiring just a small reflector to bounce light back into the dark areas.

Light s and camera are things that get in the way. They stop you from communicating with your subject.You don’t need lots of lights; daylight is fine. I often use of available light, preferring to use large white sheets of polystyrene to control and model the light. You don’t need expensive, purpose-built reflectors either, even though they are every good. In reality, a simple white hanky will do the job if you hold it close enough.

Don’t always go out of your way to relax people. Sometimes pictures of people work best if they are on edge. If somebody’s too relaxed, you lose control.

Look for mannerisms. They are the key to a person character. If you can establish a rapport and make that person feel at home in your company, they my reveal something intrinsic to their character. Then you are halfway to taking a good picture. The rest is luck.

And when you have finished taking your picture, always say thank you. Politeness is the key to a successful picture.

Sunday 7th March 2010

Thanks Pip for the use of your wonderful"Studio" yesterday. A good day was had and really enjoyable. Learnt alot about being a model, wonderful direction, but with such a good model!!! More later re images taken on the day.

Unexpected things to do on a Friday night!

L3 A phone call mid afternoon resulted in the images below. The invite was for a beer, which was not turned down, but John came over and I set the lights up, so off we went, beer in hand. I had set up the background in my front room, with the light to one side, filling the living room! with the camera in the dining room.

This is the basic set up that I was able to do in quite a small space. The light on the left is not on, the umbrella is being lit by the light on the right. In the vent I did not use the light on the left. I used a tripod and had the camera tethered to the laptop. This gives me a much bigger image to look at when assessing the image taken, and allowed my subject to see what was happening, which sometimes allows the subject to relax, or contribute, or more importantly to see where my direction is going. f20 1/80 ISO 100 228mm lens The old school scarf came out to quell the cold, and to set the mood. Only one light (power level 3) used at 60 degrees to the subject and about 1.8m away. The camera (Canon 400D with 70-300mm Tamron Lens) was 3.5m away. I could not use my light meter as Jim had borrowed it for his shoot, but this shoot was unexpected! Experimentation was used to set the exposure range. The light has spilled and reflected from the walls. f20 1/80 ISO 100 92mm lens Well, beer is an essential part of a friday night, so I just had to get an image with beer, but I don't know why he looks so furtive? We found that this was a very difficult pose to strike and to produce a good image. John had to make numerous, almost mechanical, motions to get the right feel, as the image of beer being drunk did not work, as too much was hidden. The set up was very much as above, with just a plain light. This relates to the previous shots I took of the beer products as a still life excercise. My theme is to combine the two types, portraits showing the person using the product, and then the product in it's own image. f20 1/80 ISO 100 70mm lens After John had rung I remembered he played the Saxophone, so rang him back, and asked him to bring his sax with him. One of my planned thematic images was of a musician playing an instrument, then imaging the instrument itself. I have Andrea to photograph later who plays the flute, so this was an extra bonuses. Once John got going I managed to capture this image. I have made it black and white as it really captures the essence of his playing. Mr Steve has now told me this is the standard I need to maintain now. The set up was the same as the the first shot, except I was now using the reflective umbrella, which has darkened the background more, and produced more highlights. I had increased the power level to 5. I really enjoyed my two sessions this week, both very different in type, and style, and both a challenge, mainly due to the small areas to work in, a good way to begin as it has made me more aware of the problems that can be encountered, and then having to solve those problems.It is a steep curve learning on how to us the lights in different situations. I have known John for many years, so was I was able to get him to do as I asked him, and he was very patient while I tried to get the images I was after. Being a photographer himself he also contributed to the set up, and to some of the ideas he felt were valid for the session. This helps to get the subject involved and relaxed, as the attempted shots were to be. Nevertheless, John was still tense as he is not used to being in front of the camera, but his makes it a deal easier to direct in some cases. The beer shots were very difficult to achieve as angle of subject, getting the lighting correct, making sure the image was not ugly. I found it difficult to get the image, but with the willingness of John, and some repetition, almost mechnical, of John raising his arm, I acheived the image I was looking for. However in the final analysis the image of John playing the Sax came about as he got involved with the playing of the instrument, and I took several images, difficult with the low background and movement of his playing, but, I managed to give some direction to keep John within the background, and in the lights, to achieve a fairly classic pose of him playing the sax. Turning it into black and white has really enhanced the image and mood. A succesful session achieved, all out of the blue.

Midweek shoot

I was talking to Liz about the shoes I had bought and I was looking for someone who had size 4 feet. Liz said she had and would be happy to wear them so I could photograph them. This led to an evening where I was photographing a "set", with Liz and David the main event. In discussions with Liz we came up with the idea of using the steamer chair etc and a theme developed. The scene was set as below(with Liz and David) as the basis of the shoot, with them both dressing up and opening a bottle of champagne! Great fun ensued, but the space was small, being a conservatory.

This was the start of the set up. I was able to set up in the afternoon, with Liz's help, and all was set for the evening, the basis of the theme, and my gear. I would have taken some daylight shots, but the batteries were dead on the camera. Thought-always check all the gear before you arrive at your shot, and carry spares if you have them.

This is the models in place.It was a tight shoot, and I had to use a wide angle standing in the door to get this shot. Pity I did not tidy the scene, I completely missed the edge details. I only had about an hour to capture the scene, so concentrated on getting the images. I learnt very quickly that it is very difficult to deal with shadows in this situation, and watch the background.

I really like this image of David, he really suits the transition to Black and White, and I think it shows his character. I like the simplicity of the shot. These are two close ups of Liz, and I like the colouring here. Two different poses and textures, and different lighting levels and positions. I would like to have eliminated the shadows. this was down to the positioning of the light, and I was paying more attention to getting the shot and missing the full lighting element.

This was taken at the end of the session, and I like the poses, but need to eliminate the shadows. As Mr Steve says, it's all in the placement and positioning.

These are a departure from my statement of intent, but I feel they are very relevant to the theme I have set for myself, and pose a different set of problems to overcome. The actual shoot was limited in time, I totally rearranged their conservatory and turned the living room into a tip, but my many many thanks to the two of them, as they responded to my actions and direction without question, and I am very grateful to them. You may well see more of these two in the future, I hope!

Saturday 6th March 2010

L3 Another day at the college, and another interesting day. The group are swapping tales and Ideas, information and techniques, on various related subjects to what each of us is doing. the blogger seems to working better than Iweb, and it is more consistant and does not crash so often. I am still trying to get to grips with it, some trial and error, some advice from from other students and some from Mr Steve. I have had use of the lights this week, and I am beginning to understand how to light subjects. I do get involved with the set up, and changing light levels to try to achieve the image I have in my mind, and forget other stuff that goes with it. It is quite difficult to get everything right. Use of the light meter really helps, setting distances from subject to lights, power levels of the lights. Then there is the backgrounds to consider, and so many other small things that I have noticed after I have packed away the lights etc. Good old photoshop, though I try to use that to the minimum. Mr Steve did look at some of my work today that I have done during the week, so my comments are noted on those parts of the blog.

How not to take portraits

On thursday Steve B and others wanted me to put my studio stuff up, so here it is......................... I especially like the close up portraits, they are just so now, out of focus, unsharp, badly lit, no composition, no style, no composition, no focus, incorrect f stop, exposure all wrong, and you would never find them in a book. All shot in one session.