Product influences for final 10 images

The Flute image for Andrea's flute

This is a small selection of images taken from the Pearl website. This is how they advertise their products (in part) but are on their main front page.

This is part of one advert showing one of the different types of flute they have available in different styles.

This is on the opening stream

As is this one

This is not on the web site but shows a different way to shoot the product, although the background does not relate to music.

This is also not on the web site, but is another different way to show the product (see my golf shirts eg).I had considered stringing the flute up and photographing it before I saw this advert.

This is my final chosen image from my shoot which I set up on my dining room table, which is loosely based on the above with my interpretation, and there is still room for some advertising text on the image. Also there is a contact sheet which shows the alterative images I was considering. I chose the image due to the shape and coloring and lighting and the overall look of the image.

This then is my chosen final image

I have used similar techniques to produce the other images in this submission. For example I have included below the contact sheet for Graig's portrait and plastering equipment.

Here is my contact sheet for Craig

And here is my contact sheet Niki

The equipment used for these images was my own, with the lighting units borrowed from college, and using my dining room for all images. I tethered my camera to my laptop so that it was easier to see the results of the image once taken, and also, when photographing subjects the subject was able to see quite clearly the image that was taken, which made it easier to follow my instructions as he had the previous image in his mind to respond to. I have found that this is a good way to enable a better rapport between myself and the subject. I also use a wireless trigger wich makes it even easier to communicate with the subject, rather than trying to talk through the camera. This also makes it easier to move around, and even release the shutter closer to the subject when required to give directions in some cases, or hold reflectors as required, as you can see the image from the subjects position. Also used in this situation was the light meter, which has proved to be a boon and makes setting the camera alot easier.

Health and Safety wise, certainly when at home, you have to be very aware that the trailing cables are well away from the working area, not all plugged into the same socket, after taking note of the electrical requirements from the lights, camera, laptop etc. Also warning others in the house about what you are doing and placing certain access points out of use. Also some subjects will need a braek due to the intensity of the lighting, and this would also give the lighting chance to cool down.

59 Rodney Street, Liverpool

I went to Liverpool yesterday, 30th May 2010, with the express intention of visiting this studio at 59 Rodney Street, Liverpool. This was the last home and studio of Margaret and Edward Chambre Hardman, and is the only known British studio of the mid-20th century where the photographer's entire output has been preserved. It is now cared for by the National Trust.I had booked a tour(only 6 people at a time) and a whole new world was opened up. There currently is an exhibition dedicated to Margaret, which is quite unusual. You can see virtually the whole extent of the areas in which they worked, which have been carefully preserved (under NT conditions), but the staff are brilliant and knowledgeable, and the displays are good. But, when you get into the small darkroom that they used for their personal work you get the overwhelming feeling of the joy that they had in creating their work. It makes you want to do the same. They even play the music that they had in the room. Hanging on the walls are things like his mask for clouds for the Landscapes they enjoyed, and his other dodging tools for example. I was there for 3 hours, and you can take photos inside, but it is quite dark and flash is forbidden.

This is the exterior, and also shows the basket of flowers they put up so that they would be easy to find in the street. Note the 2 plaques each side giving the name of the studio. This is an elegant street.















This image shows the garden and rear of the property, also the balcony where the 2 of them used to breakfast, and has a great view of the Anglican Cathedral. The building has been extended 3 times, but this was done prior to the Hardmans buying the place in 1949. There are still 2 rose bushes in the garden that they used to have.
















This is the chair that the majoity of the sitters would use. You can just see the edge of the tray of tea that was also offered to the sitter/s. Part of the reason was to relax the sitter, but also to moisten the lips, which would then photograph better. This chair was slightly elevated on a small dias, and for this shot was lit by one of Hardmans actual lights. His electrics were somewaht chaotic though, and all lights were operated from one 2 pin socket!!!!!!! When the NT dismantled the kit the wall was very burnt, but no recorded fires have been found!








This image shows the area where the retouching of the image was done. Positioned very near the window this would have been a very delicate process. This area was also a very busy where the staff took tea braeks, chatted etc, so the person had to really concentrate when touching up the photographs, as this was done "longhand", not in photoshop. Mistakes could not be rectified.



These are boxes of film that Hardman recovered from the radiographers next door, who were throwing tham out, to store his prints and other papers in, and fill many shelves in the mounting office. A wonderful room where all the prints were packages etc.

Steve Chong

 Steve Chong - Conceptual and Still Life Photographer. born 1965-started Photography 2001
His photography started by taking images of his home town for his homepage on a point and shoot camera. He decided that they were not good enough. Thus began his interest in photography. He read all he could and after reading the series by Ansell Adams, this is where his smouldering passion for photography took off.
He bought an entry level Canon EOS/88 but soon upgraded to a EOS/1V and lenses. A year later, after much experimentation, he found a comfortable niche in Conceptual and Surrealistic photography. He enjoyed creating an idea and seeing it materialise. he states that "it is like pointing a camera into the real world, but shooting form his sub consciousness".
After realising that scanning images was taking too much time, he boughta digital Sigma SD9 and lenses. He also liked the quality produced by the medium format camera, so went out and bought a Mamiya RZ Pro II with a fish eye lens, a 90mm and 250mm lens.
He ahs gone on from these early beginnings to photograph a wide variety of images and subjects, from landscapes to portraits, documentary to Urban, along with his conceptual and surrealistic images.
he now gives talks and demonstrations around the world, and alos has Exhibited his work widely. In June 2009he obtained a distinction in the Visual Art Category with the ARPS. he ha scome a long way in a very short time, and his Blog contains a large variety of subjects.
His motto is" it is not what you see, it is how you see it", which I think is a good way of describing photography.

This is an example of his conceptual and surreal imagery. This is entitled "Illusion", and is a very clever play on light and is quite surreal. the lighting is quite spectacular to illustrate the desert like feeling to this image.

This is a good example of how to make a good image from an everyday product, with simple natural lighting and composition.The leaf shows the use and the shadow clearly adds to the composition.  Steve Chong says -"As I was strolling this morning, the rake leaning on the wall really caught my attention. I find it mesmerizing when I saw the shadow of the rake created by the golden morning ray of sun. The leaf stuck on the rake was a bonus. So I ran back home, got out my gear and took this shot."

This shows excellent lighting to illustrate a product in use.The lighting on the bubbles shows the many rainbow colours you get from the source of the bubbles. It seems that there are two light sources in action here, one plain on the girl, he other highlighting the bubbles.

The combination of colours here are classic, but the use of them to produce this image, from original item to final item in one image is an excellent interpretation. The direction of the lighting enhances the overall feel for this image.

Such a simple abstract pattern with composition being the main part of this image. It also conveys the anticipation of what is to come.

I am not sure what this is but I can see that it is abstract, and the shape of the liquid almost seems to form a golf club. The texture of the liquid is well represented as it evidently does not flow like water but is a more thicker liquid which forms this shape. The container also looks surreal as it appears to have no edges.

A very good play on subject matter. The lighting is quite dramatic across the image, and picks out the elements very well. The view point is at a level to which we can see all the action.

Another simple composition, with a combination of lighting. the candle lighting the interior, and the external directional lighting emphasising the shape of the product. This is very pleasing on the eye, very relaxing.

This is similar to the golf image above, but the lighting is even more dramatic.

This is entitled "Anticipation". The lighting again is quite clever to get an even spread over the image so that all is very well lit.

This is entitled "me and my shadow" and is a very simple composition and the objects sits very nicely in the top corner. The colour chosen is very easy on the eye and with an even shiny surface gives that wonderful shadow. With the one directional lighting this enhances the product shape and size.Light source was derived from my computer monitor. Steve Chong says -"I wrote a simple BASIC program to obtain the colors I desired. Interestingly, the surface of the table is pink. I bought the cup during my tour to Vietnam."

This image of the apples is called going higher,and the lighting is very subtle, and is coming from 2 directions. I like to subtle colours, the soft background is a good foil for the red cherries. Steve Chong says -"Everything in this shot was planned deliberately. The folds on the background and foreground demand the highest attention. In order to get the "right" folds at the respective places, I have to stroke, rub, re-adjust and not to mention blowing air on them. The objective is to create the sort of drama at the foreground and background, particularly on the foreground where they were use to lead the vision the subjects. The fabric at the foreground was silk and normal cotton for the background. To create the sepia look I have chosen a warm filter. The flare and reflections on the apples are eliminated by the use of a polarizing filter. It has also enhanced the colors on the apples." Steve says the light was Natural from a window.

The details for this image are :-Camera: Canon EOS/1V

Lens: Tamron SP90mm

Film: ASA100

Aperture: F3.5

Shutter: 1s

Filter: Polarizing Filter, Kenko 85

Light: Natural Light from window

Just to illustrate that this photographer does not only do conceptual and still life images, this is an image from his Yuan Yang series. The capture of the light here is just remarkable, even more so the lighting on the countryside is very exhilarating.

Paulo Lorenso Studios, Newcastle under Lyme

PAOLO LORASO STUDIOS
On Saturday Layla said she had a studio session and tutorial on Sunday, and asked me if I would like to go along to learn more about shoots etc. Needless to say no problem for me, hungry for knowledge and expertise.


And what fun and how interesting. So many tips and being made aware of what to look for. Most of it is only common sense, but you can get lost in taking the image as I discovered on Saturday. They are also the official photographers for the Signal 1&2 camera club.
The studio is a professional studio, and is set up to be very commercial. There were 6 photographers in the session, all working and Paolo introduced us to how he runs his business and where he makes his money. He showed us round his studio, the various lighting set ups he has, why he uses certain products etc for example a make of lights. The studio photographers showed us how to use the models in the studio with the various lighting effects, all operated by remote control, for instant changes.
The studio is permanently set up, and is adaptable for many forms of Photography, from single portraits to group shots. He also explained the various revenue streams that he uses to make his business.
We each of us then were given 5 minutes with each of the 2 models (Layla being one, dressed and made up totally different to Saturday, and Christy the other) with 2 different lighting set ups, but this got a bit higglely piggly, but we got there.
It was really useful and very eye opening to see a studio being run. Very relaxed but professional.
It was an experience that I did not think I would have and I am very grateful to Layla for the Invitation.
You can see some of the images here that I took.
Things I learnt are:-
Inkjet printers don't like dust so use in dust free environment
White ink is free(major cost for studio is the cost of ink-price per ml-generally allow twice the cost of paper for ink)
Models usually have a CD not prints because of this-only print when necessary-then usually 10x8.
Keep each area of the studio separate.
Use the best lighting equipment you can buy as this will last longer and work quicker.
Remote control of lighting leads to quicker changes, and turn round for different subjects, makes setting up the lighting really quick.
Using area lighting makes taking of images a lot easier where required.
Calibrate the camera to PC and printer(Spider Pro eg).
If cropping to 10x8 ensure your subject is in the correct frame when taking image.
Talk to the model not the camera
Don't stand on tip toe to take image.
Be very clear with your instructions to the model, talk face to face not through the camera.
When using projected backdrops be aware of any lines forming on the subject.
Check each picture you take, to ensure it is correctly exposed/in frame/composition is correct/enables feedback to the subject/ and you get what you are looking for.
This also allows you to rest your arms and prevents your hands shaking.
Always use a make-up artist, even for outdoors work.
Use of lighting to emphasize any aspects, or vica versa.

I used the studio 1D to take the shots, mainly as I had not used one before, and it was tethered to the PC. The set up was on 2 monitors, one for the photographer and one for the subject to see, but the results where after the shot taken.
The host Paolo was exceedingly knowledgeable and very hospitable and generous with his knowledge and answered any question put to him, with great amusement at times.
Here are some studio shots.

Hamish Brown

Robbie Williams with a wrapped scarf, but still displays his character and he is instantly recognisable.

I like the positioning of this subject as you are always returning to his face.

Interesting that shading should be applied to the 2 top corners especially,and I like the lighting

A colour image that the lighting pick out the subject very well.

and on location image which just goes to show how well the use of light can be made.

Yet another imag of Nicole Kidman, this time at leisure, but the bright light behind I am not sure about, perhaps he had no choice as he only had 5 minutes with her.

I do like this representation of this pair, almost schoolboy or mug shot.

a straight forward image with darkening of the corners makes him look a little threating.

I don't know how much work was done to this image but to me it is outstanding, and illustrates the man very well. it is also a good advert.

Shades of Irving Penn here, amazing how often influences from other photographers are evident in modern day images.

An interesting cover. The interaction on the 2 image is very different between the 2, check the position of his hand!It looks like she is moving it away? Good lighting though.

I am not sure what this advertising as it JD is a sports store, it must be the top.The lighting is an overall light, and shows detail in all areas.

Wow, some advert, very strong and connected.
Hamish Brown (Born High Wycombe 1972)
Despite being a highly sort after portrait photographer, Hamish Brown is still as humble as when he was cutting his teeth shooting aspiring music acts. His dad gave him a camera at the age of 7, and started shooting music when his friends asked him to photograph their band, which eventually lead him to work for NME. His later years have seen him photograph sports people for press, advertising and publicity campaigns.
He still feels he needs to overcome his “fear of failure”. A surprising statement from someone who has had world wide success, but then he is a very amiable and down to earth charcter according to his interviewers.
He learnt a lot from his father and dipped in and out of photographic course, but he felt these were too restrictive, which is where he started to take images of his mates in bands. This was his route into paid work. He initially asked for expenses and a small fee if they liked the image. If they did not like the image then they did not pay.
He is keen to describe himself as a Portrait photographer. He is always happy to take an image if there are people in it, and feels he makes a better job of it if there is. The interaction between himself and the subject, getting personally involved with the subject, leads to a better image. He says there is something about competitive sports that drives people, and there is something about capturing a moment of calm in a portrait of someone who is normally going hell for leather on a football field for instance. He feels that sportsman and photographers have a lot in common as they both have to perform on the day.
He has in his bag a Mamiya RZ67, a Hasselblad 03, a Canon EOS 5D MkII and Panasonic GF1. The medium-format gear is used for most of his jobs, with a PhaseOne back that he hires when he needs it, he doesn’t want the expense to own one when it will be out of date in a few years! He uses a waist level finder as this means he can interact better with his subject. (I like to use my wireless connection and remote control as this means I am not looking through the camera all the time and can interact with my subject better). He states that he uses the 5D and has been very impressed with the images it delivers. He is a great advocate of “shoot the shot in the camera” means of photography, to avoid excessive use of post production work. He does use an agency though.And has his work used by some very big clients eg Adidas.

Alexey Brodovitch

Alexey Brodovitch (1898 – 1971)
He was a Russian born photographer, designer and instructor who is most famous for his Art direction of Fashion Magazine Harper’ Bazaar from 1938 to 1958. He was also Irving Penn’s mentor, and Diane Arbus studied with him.
In 1918 him and some of his family made their way to France, where Alexey wanted to be a painter (the connection again with painting and photography !) He and his wife settled in Montparnasse in Paris, along with other Russian artists, including Chagall. Through this connection he started painting backdrops rather than houses, but at that time Paris was a very cosmopolitan city with lots of arts and artist’s, and he was exposed to everything from Dadism to Bauhaus Cubism and many other influences of that period.
He began to sketch designs for textiles, china and jewellery. He gained public recognition of his work in the commercial arts by winning first prize in a poster competition for an Artists’ soiree called Le Bal Banal on march 24th 1924. This poster was exhibited all over Montparnasse along with a drawing by Picasso, who took second place. He remained proud of this work and kept a copy pinned on his studio wall. The graphic, light to dark inversion of its mask shape, type and background suggest not only photography, but also represents the process of trading one’s identity for another when wearing a mask. After that he was hired to design and illustrate catalogues for the Parisian store Aux Trois Quartiers.
Brodovicth embraced technical developments from all spheres of industrial, photography and contemporary painting. Brodovitch went to America in 1930, and his task was to bring American advertising design up to the level of Europe, and taught advertising students. He would always teach with a visual aid, and were then told to make a “graphic impression” of what they had seen, whether a photographic interpretation, a drawing or an abstraction.(This for me is what I am trying to achieve,partly without realising it, and found someone who has taught like that).
Typically, Brodovitch would begin his layouts by designing the layouts as illustrations by hand. His assistant would receive these sketches to look over, but the photographers and freelance writers were often given little or no direction at all besides to come up with something new and unusual. When the photographs arrived, he would pick the most visually interesting and have a variety of sizes of reproductions made on a Photostat machine ( the old days?). Brodovitch would crop images unexpectedly or off-centre to bring a new dynamism to the layout.
Although not a photographer as such his expertise at design and use of photographs to illustrate an article or a magazine is so important. For example he would arbitrarily take a series of photographs and adopt a story line to go with them. Nowadays we work to briefs to do this. He was known to push this idea even further by adding film sprocket borders to photographs at times (popular now). He is also famous for introducing the photographic double-page spread. This side of photography is very important as it ends up as the end product.