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.

Lhottie at Calke Sunday afternoon

Once again Jim envigelled me into being his glamorous assistant, this time with Lhotte, so really did not miss the footy (well the Germans turned up anyway), much more fun out at Calke in the sunshine. Lighting was difficult, despite it being sunny (much cloud at times), but lovely and warm. Reflectors and flash just about made it. Just got the reflectors right and the sun went behind the clouds. It should be easy outside! Never the less Lhotte was very good, and very patient. Below are some of my images taken when the BOSS did not want me to hold his reflector.

Jims idea was for some Editorial shots using the light under the trees. I just enjoyed the opportunity to experiment with the light. No plan except Calke is a very good place with so many places to photgraph. I learnt a lot today, but time of day could be better, so next time will either be earlier or later in the day..

As Lhotte only had small sandles on we had to make sure that she was walking in an area without the thistles, and when she was not wearing shoes then to make sure she did not tread in anything she should not have been, especially as the cattle had been on the field.

When the sun was out the Gold reflector gave too much light(reflected under the trees on the model), the silver was also too much at times, but did good fill light to the face. The white reflector did not really register, although if placed close to the model it would have not been in the position to reflect the ambient light. Also had to be careful not to blind Lhotte.

This image was taken in the open with a cloudy sky.

Love this, taken in full sunshine and with a straight conversion. This is in line with my theme in the studio. I was pleased to get this effect outdoors as well.

Cheeky smile with my hat on, can't remember what I said now.

Somehow my hat got into this.

Just bursting into the sunshine. Fabulous dress, swayed in the breeze. I cant remember which pattern it is from the giraffe, not that Lhotte is anywhere near like a giraffe.

Mind the prickles on the grass, so many thistles, nice spot Jim!!

Peeking from behind the tree.

Lets pose now for Jim

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.

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.

Bowens Lighting Kit

L3
This is the kit I have used at home, borrowed from College, to take the "producture" shots included elsewhere in this blog. I have also used these ligths to create some of my portraits  at home in my lounge.
The biggest concern when usin gthese light was the safety issue. I had to tell other members of the house not to come into the lounge and dining area as there would be cables trailing over the floor (as tidy as I could get). I had set the lights up in a sensible way though so as not to cause any trip hazards (see note book). I also leanrt how to set up my laptop so that the cables were away from the working side. I also let the model know the whereabouts of the cables etc. Also the backdrop at home was only pegged to the curtains so I had to let the model know where to stand and informed them of the psoosiblities of it all falling down if they stepped back to far. No one did, they did listen. it was just a shame there was no snoot with the kit. I found the kit to be excellent.

The Bowens Esprit Gemini Lighting Kit includes:-

2 x Bowens Esprit Gemini 500W head

2 x Bowens 92 mm Umbrella

2 x compact lighting stands

1 x deluxe Kit bag

The power cords, sync leads and modelling lamps, and also included a battery pack.

The dual purpose silver/white umbrellas feature a white interior surface backed by a removable silver fabric with a black backing which provides a soft, but highly efficient bounced light source. For close-up lighting, the silver black backing can be removed, allowing the photographer to get closer to the subject while lighting through the umbrella. Unique ten-panel design provides maximum reflectance with a circular light pattern.

I found this kit very easy and simple to use, and set to up at home. The power level was also very good and I found there was a good range to suit my potential images. Once I had tried a few images I was able to adjust the lighting to get to where I wanted it to be. Missing however was the ability to use a snoot and softbox, which were not provided with this kit and unable to borrow from college. I feel I could have used these to good effect. However, I am pleased with the results with the kit provided.
Of course the other consideration was not to overload the circuits at home, but by spreading the load over several sockets I had no problem.
I did prefer this kit to another kit that I could borrow, a 150W 2 light system, but I found that although it was very good, it was not as flexible as the kit borrowed from college, ie the 500W lamps.

The major consideration with use of this kit however was to ensure that the cables were not in the area's were trip hazards could be. This took some thought and I had to trail the cables to the one side away from the area of passage as much as possible. Using one light was not too difficult to adjust too, and informing the model as well as to the location of the cables. The other consideration I had to take into account is that I was using my Laptop tethered to my Camera, which necessitated a 5m lead, and of course the power lead.It was extremely good to use the laptop, as the model could then use the images taken to adjust the pose as directed easier than without, as they could also see the images as taken. It is also so much better to see for myself as well on a larger screen, alot easier to make adjustments.

When using the lighting kit I also use my light meter. It is a Sekonic 358 and gives a very good guide to the level of exposure required. Once set it is possible to take several images without changing the settings until the psoe changes, when a new reading is taken.

Rankin images

L3 Some varied images from Rankin Just a note to say I lost points at the camera club for cutting off heads!

John Rankin Waddell (working name Rankin, born 1966, Paisley, Glasgow)


He is a British portrait and fashion photographer. His subjects have included Kate Moss, Naomi Campbell, Kylie Minogue, Leonardo DiCaprio, the Spice Girls, Cate Blanchett, Damien Hirst, Queen Elizabeth II and Tony Blair. Born in Glasgow, he was brought up in St Albans, Hertfordshire. After being expelled from school, ( I met one of his old teachers on my Avignon holiday in sptember this year) he briefly studied accountancy at Brighton Polytechnic before moving to Peckham and studying photography at the London College of Printing, which he left to found Dazed & Confused with Jefferson Hack in 1991. He launched his own quarterly fashion magazine, RANK, in December 2000. In 2002 he launched with art gallery owner Alex Proud a photographic book imprint, Vision On. He also publishes Another Magazine and more recently Another Man. He continues to work in fashion, advertising and for magazines internationally. He is divorced from the actress Kate Hardie. Rankin has recently moved into film production with his project The Lives of the Saints, a gangster film set in London. Rankin was recently the photographer for Regatta’s upcoming advertising campaign featuring outdoor loving celebrities; Bill Oddie, Janet Street-Porter, Michaela Strachan and ex-Blue Peter presenter Peter Duncan. The photo shoots which took place at Richmond Park, Hampstead Heath and a Scenic location in Yorkshire, were part of Regatta’s efforts to promote their forthcoming Spring/Summer 2008 range.

I had the good fortune to be in London on Saturday 12th September 2009 when I visited “Rankin Live” in Brick lane. It was very interesting to see how he worked. I was very surprised at how close he was getting to his subject, how close the light was to the subject, and how little time he spent taking the photographs. It was all in aid of his 1000 portraits project that he is currently undertaking. It was also useful to see how many assistants he had working with him. There was a light person, a wind machine person, and a technician working with him when photographing. He then handed the camera to the technician when finished, and at least went to the laptop with the subject to quickly discuss the photographs. The photographs he took I felt were disappointing as the poses were very similar, whether portrait or nude, and with the lights so close the faces etc quite were washed out. Looking at some of his other work displayed, it seem to rate from rank to excellent. Some were so ordinary and did not have any obvious meaning, only to him and his idea. For example, he had a dress which several models wore in different locations, but they tended to look the same, and the style of the photograph was always similar. I know that was part of the intention but?

I was impressed however with his pictures that were displayed along the Southbank, of which I have noted mainly as examples of his work. These are what I would like to achieve once I can get into a studio, as they have given me several ideas. Once again, though they are celebrities of one sort and another. How would they be if they were of ordinary folk, and what would the meaning be?