Classic Nude

After a few weeks away from my degree it has been slow and I find myself looking for projects, competitions and work to either amuse myself or occupy my time...

The week before last (I think) I found myself in one of such projects and it was intensely rewarding. Being out of the studio for so long now it felt strange returning to the blank canvas of a room and it I gave myself 2 hours for prep!

So I saw one of my old friends (I'll keep this anonymous...) had posted some recent pictures online from a shoot that she had done - I had to contact her immediately, I felt a little voyeuristic since I was objectifying her body for photographing purposes..but Hey! You can't deny beauty when it's there!

My idea was basic (classical nude, soft, beautiful) and my model was game!
The shoot was surprisingly easy, relaxed and rewarding. I was nervous myself, I can't even imagine what the model felt, but after a few shots I was onto something and the model was in her prime. It was a fascinating and liberating experience and definitely worth it!

 Here are some of the results, any comments welcome.

 I have another shoot pencilled in with the same model for September, hopefully with both medium and large format film cameras, in mind for some really beautiful large format prints.

Quick update

Well I suppose after a few months off its time to get back into this.

I've just completed the second year of my course at uni - results coming soon! I'm pretty confident about it, I put a lot of hard work into the main projects at least (not so sure about the written assignment!) and I'm hoping to to get over 60 so fingers crossed!

My plans for the summer are pretty vague at this point but my main target is my written assignment for next year. I'd like to get most of the leg work done now so there's more time for reflections and refinement in sep/dec. The rough topic of investigation so far is mostly about photojournalism and manipulation but I'd like to get some hands on research and insight to guide and become a platform for me so I'm currently in contact with a journalist for the MEN to do some shadowing. Again fingers crossed for this.

Not much planned for the summer in terms of paid assignments - I've got one wedding in August, some nude shooting next week and I've got a cafe wall to fill which should be interesting!

So thats basically it for quick updates (I know exciting right..) but it's nice just to get my thoughts together on here so I can look back on etc. for anybody interested the blog for my last project can be found HERE
(the exhibition project)
Laters!

APT - A2 Print

Been a while I know, Uni work bogging me down a lot so busy busy!
Since its about all I've been doing lately, I thought I'd post about the APT project I've currently finished. The brief being an A2 printed image.
I decided to use Loretta Lux to set me off, using really flat lighting and manipulation techniques in post processing, mainly eye/head enlarging.

My responces to Lux's images were to be obvious, but eerily not obvious...
Main processes included:
skin softening/blemish removing
colour management
highlights/shadows
eye enhancements
feature enlargements and adjustments

I did two edits of the same image, here is why:

Here are the comparable differences between said original image and edit, with layers:

And finally, the edited image:
Any feedback would be apreciated :)

Silver Effect?

So I've been doing a lot of revised editing recently, since learning a lot from the course I'm studying. Its pretty evident that I am miles ahead from where I started a couple of years back, and the post processing skills I have, have improved massively.

I've been trying recently to achieve a sort of 'silver' effect in some of the portraits, and I've been having some difficulties. I've got a little bit of where I want the portrait to be, but haven't quite got the method yet.

I have been using the black and white filters, opacity layers and blending modes to create a dulling effect on the images, then played around with the colour toning, and dodging and burning. I just can't quite seem to get the hang of it.

 

This is what I have achieved so far, and I quite like them as they are, but what I'm really looking for is some feedback/suggestions on how I could get a more silver-ish effect out of the images.

Back into the realms of the Studio!

Just a quick update today, very busy lady!

After a summer out of uni, and consequently out of the studio - we went back into it the other day for our first session with Brian Spranklen.

We only really covered some of the basics, to get back into the swing of things and reiterate what was learnt last year.

In the end, there was only half an hour or so to get some shots in - which was a real challenge!

The first set up I used, was a large soft box in front/just above the subjects head, to achieve the basic lighting image. 

Fairly standard, and in my opinion not very exciting.

For the second set, I used a honeycomb directed onto the subjects face, straight onto the tip of the nose to produce what's called 'Beauty Lighting'.

I'm much happier with the second, and with more practice in the studio this year I'm really excited to see what I can produce!

Artistic Nude

I think it's about time to go back to another project don't you? So I bet the title got you excited right? think it's a joke? ...Nope, no joke! 

You see, for the final DMP project in first year of Uni our task was to produce two A3 high res prints, one portrait and the other still life. Now obviously I'm not talking about the still life today, it was only a pot anyway!

I had no idea where to start for a portrait, even though this module was based on skill and technique, I didn't want the standard commercial portrait you see of a high res wrinkly old man smiling at the camera. And it was only until after a session led by Brian Spranklen where he went through some slides with us, that I found inspiration for my portrait. 

He went through some photographs from Richard Avedon, and there was one that just stood out and stuck in my head until I got home.

  

From what I can find, it's a shoot for vogue and the model is Lauren Hutton, but anyway, I thought this would be perfect inspiration for my portrait image.

So I posted an ad on my course page on Facebook, and huzahh! to my surprise, I had a few volunteers! We set the date and time and got shooting.

Now I'm not going to deny that I felt a little uncomfortable shooting my class mate nude, but it was much easier than finding a stranger to shoot. 

I didn't want to copy the image I just wanted to use it as a starting point for the shoot, so we tried a few positions with the theme being the shape from the inside of the cardigan over the chest and up to the neck, because this is the part I loved the most from the original image.

The model is Emma Hand and she was wonderfully calm considering the circumstances, and took direction very well.

Now obviously I took a less 'glossy' route with the skin, I decided not to use and wet products to highlight the skin, not only because I thought it was a bit much for me and my class mate, but because I have always preferred the more 'matte' look for the skin tones and shadows in a fine art nude.

The images were submitted in colour, but I've re edited these and it seems there is a bit of a theme appearing with my editing styles. This has been one of my favourite projects and any feedback on these images would be grately apreciated!

Daunting Experiences Pt - 2

Greetings again from a very worn out Tess! This is the second part of a 2 part series detailing my experience at my first wedding shoot, as the main photographer.

In the first part I explained my preparations and worries, and in this part I shall look back on the shoot, which was on Thursday.


So I'll start with before the ceremony.


The ceremony was scheduled to be at 3:30, with the Groom arriving at 5 past, and the Bride at 20 past. So I did the obvious thing and got there about an hour early, to scout out the location, where the group shots would be, and where I would shoot from in the marriage room. Here in lies the first dilema, The marriage room was dark and there was not a lot of ambient light - and to make it even worse, the windows were on the opposite side of where I was shooting from (where I was told to shot from)!

So good job I was there early right? It wasn't that I couldn't handle it, it was just very difficult to deal with when I couldn't use flash! So I ended up on ISO400 which I suppose isn't too bad but I really prefer to be at 100 or less. During the ceremony I pictured my list and shot as many angles as I could whilst being in the dark etc. It got a lot easier as I loosened up a little and ignored my loud shutter noises.

After the ceremony I had to rush outside to catch the B+G walking down the stairs and then onto the group shots. The light was good so I didn't need a fill in, and they only wanted a couple of groups, so it was fairly quick too. At first I did forget my ISO was up, but I took it back for most of the shots.

The Reception wasn't until half 7 so I had a bit of time in between to breathe and get some scran. I got there about half an hour early to get my settings etc and a drink (non-alcaholic of course!). The Bride requested pictures of the cake cutting and the first dance which is fairly standard so I took a few candid shots until the cake was cut. Now this was a real problem. The cake was in the corner of the reception room, with no light, so my camera couldm't focus properly (autofocus). I did as much as I could with the manual focus but it was pretty hard to see since it was so dark. Good job I had a flash gun at the ready though aye?

For the first dance I shot some normal and some eperimental images with the use of second curtain flash. I think these were the shots I was most pleased with.

So after a very tiring day of being nervous, rushing around on my knees trying to shoot everything on the list I think it was a good experience to have for a first wedding. If there was a bigger wedding party with a complex range of family group shots, I honestly doubt my skills would have sufficed, but as it was I did my best and hope that the couple are happy with their images. As for the future? I'm not sure weddings will ever be my speciality, but I'm always going to be open to the chance, maybe even for a second shooter ?

Daunting Experiences Pt - 1

As you may notice, today's post is a 2 part blog and will be completed in the next few days.

Last week, a posting was made advertising for any interested photographers willing to shoot a wedding this week by one of my fellow students. BOOM! As soon as I saw I contacted her and hoped the position hadn't been taken because I have been dying to shoot a wedding for ages. The Bride contacted me and said she still needed a photographer so I was in!

And then it hit me.......


A WEDDING?!?!?!?!


Ahhhh *^")%^$#@...


I thought to myself 'What have I got myself into???' you can imagine the horror on my face as I realised I only had a week to prepare, after all this is my FIRST wedding shoot. After a while of sweaty palms, ventilating and tummy butterflies I decided this wasn't the way to go about it.

My first concern was that my skills were not proficient enough for the task (I'm sure I'm not the only one to have come accross this feeling), but after a good chat with my trusty other half (who always seems to say the right things!) I came to the conclusion that I should trust in my skills and do shoot to the best of my abilities.

My other main concern was that I would not have a clue what to expect, what to do and where to go at what times etc so I've pretty much spent the last week preparing myself for the task. Reading though all the websites, mags and books I could find explaining the different techniques, planning stages and tips I could possibly need. I would definitely recommend doing this to anyone thinking of shooting a wedding, very useful stuff - 'Turning Pro' mag I would also recommend.

So today's the day! (not dolmio day of course) I've had my weetabix, it's forcast to rain (that will prove difficult) and I think I'm fully prepared for what will be my first wedding shoot.

I've got my tripod,
camera,
2 charged batteries and the charger,
flash gun,
spare batteries for that,
plenty of memory cards,
extensive shot list,
huge umbrella,
reflector if needed,
and moral support from my dad haha!

I've had a chat with the Bride (she's really nice) on Sunday so I pretty much know whats happening today, and naturally taking into account this is a small wedding and this is experience for me - she's getting an uber good deal.

Keep an eye out for the second half and the conclusion of the shoot. Wish me luck! Eep!

Infra Red? Part 2

I told you to stay tuned for more Infra Red and here are the results! These shots have been taken on my recent trip to Devon, in a lovely National Trust house/garden called Killerton.

 Needless to say I'm less than impressed with the results, being a specially gloomy day with not a lot of light seaping through the trees like I imagined but then it's not always as easy as that. The style is interesting, with marks, grain and light spots which come naturally with the 'experimental' fashion in which these were taken - although I do usually work for sharpness and detail, so it really is a new direction for me.

The last set of images I took with an infrared filter were fairly interesting and were set at 30 second exposures at the lowest F stop possible depending on the zoom. For this attempt I had a go at something slightly different, and used the 'bulb' setting. This is the setting after the shutter speed has reached 30 seconds (well on my camera it is) and the exposure depends entirely on how long you want it to be, since once the shutter is pressed - light is let in (in this case only infrared) and only when it is released does the shutter close.

Now obviously I found it extremely useful having a remote trigger which could be set to 'hold' the button rather than standing at my tripod with my finger on the button for 10-15 minutes at a time!

Since the exposures I were setting were around these times, it was very frustrating when people around the park stood infront of the camera for 2-3 minutes at a time, but phew! the long exposures made sure these people didnt show up in the images.

Another issue I came accross was a big white out spot in the middle of the images, on the longer exposures. I'm assuming this is because there was too much light on the same spot on a continuous exposure but I have limited knowledge of this and would apreciate any information on the subject!

A dissapointing result from the shoot, however I did edit the normal versions (since I take a couple to get the original image set) and they looked ok:

I have a preference for these images, however I can understand the appeal of the style in the Infra Red images.

However, I think if ill be attempting this again in the future - I definately need a lower number Infra Red filter because this one seems to be a bit too much for what I'm after!

Miss me?

It’s been a healthy 2 weeks since my last post! Well not so healthy with all the clotted cream teas and ice cream in the land of Devon – but hey, it’s been 2 weeks!

Not much on offer from Devon however I probably could have made a bit more of an effort to explore areas more. Here are a couple from a little Donkey Sanctuary in Sidmouth, please bear in mind I have never shot animals and I took a bit of a different approach to editing – enjoy!

PARIS

So last year I went to PARIS! It was the trip for the first year of Uni, which is pretty damn good if you ask me (I know you didn’t...). 

The trip was mainly based around ‘Paris Photo’ where some of the best photographers exhibited their work at the Louvre, but we made some other visits such as the EIFFEL TOWER! Haha

Anyway, if you want to know more about Paris Photo I suggest this website to start with: http://www.parisphoto.fr/?lg=en

And I would definitely recommend it as a visit even just to glance at some top photography.

Anyway I’m not here to talk about Paris Photo, although that would be nice, and fairly simple.

I’m here to talk about photographing in public. I don’t know about the rest of you but I find it a hell of a time taking photographs in a public space, of public people or buildings. I’m probably one of the most tame, shy people that any of my friends or relatives will know, and being shy definitely does not help me with my piccies!

I mention Paris because it was a prime example of how difficult it was for me. I found myself watching other people in my group snapping away, popping up and down streets and round corners just whistling through the process! I started to feel so awkward and found that I was making excuses not to take a picture I wanted. – The light isn’t right – I don’t want to wait around for the people to move – I don’t want to be rude and ask to take a picture – I can probably do it tomorrow. I felt so under pressure because everybody around me was just snap, snap, snapping and I was just watching, making excuses.

Then we sat down. A brief moment past until I realised I most definitely needed to relax! I thought to myself – just do it, nobody gives a damn what you are doing, just do it. It doesn’t matter what anybody thinks, just do it! Well there’s nothing quite like a bit of self motivation but hey, I kept telling myself that and after a short while – my camera had joined the choir of snaps!

Ahhh... beautiful story aye? Ok well it’s not, but its things like these that can prevent any kind of artist from doing what they really want and it’s probably a lot more common than I think. I’ve been in many situations since, where I’ve had to give myself the ‘motivation speech’ but there is probably a better way.... haha! 

Anyway you’ve read the story here’s a few from PARIS!

Shape and Texture

Sometimes I find it's best just to forget about the 'meaning' of what a photograph is or could be, and concentrate on the simplest of textures or shapes. 

Forgetting about colour opens up a range of possibilities, creating images that you wouldn't necessarily have thought of.

I like how lines, patterns and textures create a sort of movement in a frozen medium, a flow inside an image.