Studio

Photography Studio

Basic Health & Safety working practice while in the photography studio.

Learning the basics. Introduction to using the Photography studio.

Topics covered : safe working practices, Setting up studio equipment correctly.

Staff Kevin Howlett.

Use all specialist studio equipment safely. Studio lights use mains electricity, if used incorrectly can cause serious injury or death through electrocution. The photography studio can be a dangerous environment. All personnel must be aware of this and must use the studio in a considerate, responsible and safe manner. Students must:

· Ensure the lighting unit is switched off before it is plugged into the mains socket.

· Plug the mains cable into the light unit before plugging into the mains socket.

· Make sure the light unit is secured firmly to the light stand.

· Discharge the light unit before switching it off.

· Ensure electrical cables and sync leads are not causing a trip hazard. Use shortest distances from the electrical unit to the mains socket. Use an extension cable if necessary.

· Not change bulbs or tamper with electrical equipment.

· Must ensure that broken or malfunctioning equipment be switched off and disconnected from mains power, then reported to a member of staff (technician and teaching staff).

· Must not allow personal belongings such as bags/coats etc. to be placed on the floor or be allowed to become a trip hazard.

· Never consume food or drink in the photo studio or bring food or drink into the photo studio.

IF IN DOUBT ASK !!!!

Basic Studio Lighting Equipment

Image taken from Ebay

While I was researching studio lighting equipment, I came across this picture which shows a variety of lighting equipment used in a typical photography studio.

      These equipment items are similar to the ones we have talked about in our studio equipment class.

In the top of the picture we have SNOOTS, or HEADS these have covers, or grids fix over the lights to give different effects of shade, contrasts of lighting, moods, ambience. They come in all kinds of different sizes and shapes. 20, 30, 60 degrees.
      You can add different coloured lens covers for cooler shading and shadows, colours that blend or change the mood of the object being photographed.

      Heads are a bigger light cover they are good for Shape, Form, and Texture, but best not to use on a shiny surface.

Better to use with a honeycomb grid, as this can cause poor lighting quality if you choose not to use one. You can also create a feathered effect of lighting by the positioning of the light, this Snoot is also good for Low key lighting and small pools of light.

Image 1 - Snoot Narrow Head

Image 2 - Heads with Honeycomb 20, 30, 60 degree grids

At either side of the picture we have 4 tripod stands, which will hold the main Bowen Lens/light , The tripods can be extended to different heights, giving you more flexibility with lighting options of the subject/object you are photographing.

Cable connect leads for the lights, in the bottom left of the picture.

Next on the right bottom of the picture we have "Brollys" these are Umbrella shaped heads or hoods, they can be used to "bounce" light around the subject/object or light source. They can come in different sizes and colours, for example Sliver, Black, White or Translucent, they can be used with or without a cover, depending on what result you require for your photograph.

Image 1 - example of a "Brolly"

In the top centre of the picture we have the Bowens lights, these can come with different wattage.

In our Studio we have

1) RED = 500w

2) BLUE = 400w

3) YELLOW = 250w

Giving us a very good range of Mono lighting.

Image 1- Bowens light

Image 2 - Bowens light front view - lighting

Image 3 - Bowens light back view - controls

These are similar to the ones we are using in the Studio.

Important Things To Remember

Always open tripod fully.
Discharge flash first on Bowen light (as it will still be charged).
Ensure Cell, Beep, Lamp buttons are all down.
Make sure the plastic hood is taken OFF before Use.
Let lights cool down before packing away.
All wire cables are potential trip hazards, and should be placed out of the way (if possible)
Have a clean working environment (tidy as you go)

LIGHTING

Smooth or shiny surface - Use a large light source (bigger the better)
Rough or matt Surfaces - Use a small light source ( Light doesn't reflect in a spectacular way). With a Matt surface, the smaller the light, the greater the contrast, the bigger the surface the lower the contrast. Light and Shadow.

Always use the back wall as a centre point. Like an very large T , see example below.

Back wall

T < --- object

Camera

Try to visualise your shoot before hand, think of what kind of materials, objects/subjects are you going to use, are they solid? or transparent? translucent? can you pre-empt, or or envisage any complications? will you need extra help or support?

Quote Martyn Pearson . " Perfection of imperfection " get a feel for it, look at the object, how do you want to make it come alive, to say what it wants to say, making it look sexy! or enticing ! giving it the best possible texture, colour, shadows, shade.

Make your picture look intriguing and interesting, have people wanting to seek out you and your photographs, leave them wanting more !!

Don't be afraid to experiment....... after all practice makes perfect!!! the old saying of " if at first you don't succeed, then try again, and again !!

This after all is how we learn, by playing (in this case) the use of light and shadows, by moving the lights around, knowing and getting used to how different lights effect our pictures. where will the shade be? Will the light be to bright or too dim? , looking for dead areas that just need that little bit more ambiance lighting.

Also use other items in the studio that can create rebound lighting, like the foam boards, reflectors, umbrellas, soft boxes, mirrors, torches shiny surfaces, anything that gives you the image you have imagined. Light the object and the background independently.

If other students or tutors are around ask them for advise, critic and positive constructive feedback. ask them questions, how would you light the object/subject up ? have you any ideas that I have not thought about? Can they help shine some lighting effects for you.

After all we are learning together, sometimes two sets of eyes are better than one.

Studio Flash

Mono-block flash heads are useful when making portraits. Compared to flash guns, a mono-block is more powerful, the range of available attachments is greater and the variable control of power output is wider. However, a mono-block is also much larger and cumbersome and, apart from some models, the availability of mains electricity is vital. Also, a mono-block will not fit onto the camera hot-shoe.

Some mono-block manufacturers: Bowens, Elinchrom, Calumet

• The mono-block needs to be attached to the camera via a sync (synchronisation) lead or a wireless transmitter and receiver.

• The camera shutter speed should not exceed its sync-speed – usually around 1/200^th second.

• For a ‘hard’, high contrast light, use a small light attachment such as a snoot or a honeycomb. For a softer, lower contrast effect, use a larger light attachment such as a softbox or brolly. Remember – small light = high contrast, big light = low contrast.

• Because of the available power, a lower ISO setting can be used. This will improve your image quality (less noise).

• Increase or decrease the brightness of your image by using a larger or smaller f-stop or by adjusting the power output on the flash head itself, or a bit of both.

• Refer to your camera monitor for image brightness/composition etc. Then make camera and/or light adjustments as appropriate.

Studio - The Digital SLR Camera

The DSLR
A point and shoot digital camera typically exposes the sensor constantly to the light projected by the lens, allowing the camera’s screen to be used as an electronic viewfinder. Also the sensor may be much small than on a DSLR resulting in poorer image quality. In addition the lens arrangement and maximum aperture can be limited. It is usual for these cameras to have a fixed small flash quite close to the lens resulting in what is termed ‘red eye’. A digital point and shoot camera will be smaller and more portable to use.

However, the mirror and prism arrangement in the DSLR usually precludes the ability to view the scene on the liquid crystal display (LCD). It must be noted that many newer DSLR models allow for live preview – sometimes termed ‘live view’, allowing the LCD to be used as a viewfinder, similar to those used in a digital camcorder. To achieve this it is usual for the optical viewfinder to be disabled. A DSLR will have a broader range of high quality interchangeable lenses available. The sensor will be larger allowing for higher quality images. Also separate flash equipment may be used for more sophisticated use of light control. A DSLR can be quite a large piece of equipment and may also require a bag for it, and supplementary items to be carried in.

The Design of the DSLR

The lens hood. This is used to reduce extraneous light form entering the lens and causing ‘flare’. Flare is localised, reduced contrast in the image. Using a lens hood will help increase image contrast.

Ultra Violet Filter (UV). Used primarily to protect the expensive front lens element from knocks and abrasions. It will also reduce the effects of ultra violet light reducing picture contrast in landscape photographs. Often UV is seen as a bluish cast on distant subjects. You may also use a ‘skylight’ filter.

Focusing Ring. Enables the manual focusing of the image when not in autofocus mode.

Zoom Facility. Rotating this will alter the effective focal length of the lens to make the scene appear closer or further away. Using a short focal length will make near objects seem much larger than objects further away. Using a longer focal length will compress the perspective making objects that are further away appear closer to objects nearer to the camera.

Prism. This is a five sided prism or a ‘pentaprism’. This will laterally reverse the image projected by the mirror so that it is seen correctly.

Diopter. An adjustment dial or slider or dial, which will bring the image into clear focus if the photographer has a visual impairment and is not wearing spectacles.

Optical Viewfinder. Look through the viewfinder to see what there is in the frame. Many modern cameras now offer ‘live view’.

Focal Plane Shutter. This opens to allow the light rays to expose the sensor. The duration of the exposure can be altered, allowing for shorter or longer exposures.

Image Sensor. Where the film used to be in a traditional SLR. The sensor converts the light rays to electronic impulses resulting in the image. A smaller sensor means smaller pixels sites. As more megapixels are packed into a smaller sensor the problem of ‘noise’ can occur. This is due to the normal random movement of electrons in any material warmer than absolute zero. The movement is added to the electrical signal generated by the quantity of light striking the pixel. The bigger the sensor and pixel site, the less noise will be visible.

Liquid Crystal Display. Review your image on this screen and modify the photograph as needed.

Mirror. When in the down position this will reflect light rays from the lens up into the prism allowing the photographer to see the scene. The mirror will flip up during exposure allowing the light rays to strike the sensor.

Lens Aperture. The size of the aperture will control the intensity of the light making the exposure. The aperture size is measured in f-stops, the smaller the f-stop number, the larger the aperture size. Control this on the camera body or, with older cameras, via an aperture ring on the lens.

Lens Elements. Allows the light rays to be gathered and focused onto the sensor.

Objective Lens. This is the front lens.

DSLR Camera Modes

When first faced with the large dials on the top of the camera many new photographers will set their camera to P (Program) mode and leave it there. This means that the camera will do most of the thinking for you. However, by adjusting the ISO or White Balance settings you can override some of the decisions the camera’s auto sensor is making.

Shutter Priority (S for Nikon and Tv for Canon). You select the shutter speed and the camera will choose the aperture size to achieve correct exposure. This is semi-automatic but is great for controlling the amount of blur in fast moving subjects. Or ensuring you don’t get camera shake.

Aperture Priority (A for Nikon and Av for Canon). You select the aperture size and the camera will choose a shutter speed that will give correct exposure. This is great for achieving selective focus where the main subject is in focus but the background is out of focus (large aperture size). Or ensuring a landscape or still-life is in focus front to back (small aperture).

Manual (M for Nikon and Canon). Allows aperture and shutter speed to be set by the user. Total control of picture making.

Auto (Auto for Nikon, green box for Canon). This setting uses the image sensor to decide all settings. It is usually better to use ‘Program’ as some controls can be overridden.

Achieving ‘Correct’ Exposure

Most new photographers learn early on that the best way to get the most from their new, sophisticated and expensive camera is to use it in Manual Mode. One of the biggest problems facing the new photographer, however, is that of using Manual Mode and achieving an image that is neither too bright nor too dark. A photograph that is too bright is termed overexposed and if it too dark it is called underexposed.

The new photographer, faced with this issue will often ask themselves; ‘why use the camera in this way, only to get pictures that are too bright or too dark?’ The answer is that to use the camera in any other way stops the photographer achieving control over the equipment and the picture quality and with practice, exposure control can be mastered easily.

In Manual Mode. To start to master exposure you should:

 Set the camera ISO. Use a higher number if light is limited and a lower number if you are in bright conditions
 Set your shutter speed. 1/40 sec if indoors or in dull conditions 1/125 sec if in brighter conditions  Adjust your aperture to a large aperture f4, for instance, if in limited light conditions or a smaller aperture ( f16 ) if conditions are brighter.

The above numbers are approximate. To achieve greater control use your light meter indicator. To use this; point your camera at your subject, press the shutter button half way and adjust the aperture or shutter speed to zero the exposure indicator. Press the shutter button all the way to make an exposure. In most lighting conditions this will result in a ‘correct’ exposure

Kevin Howlett - The Basics of a DSLR Camera

Today in class Kevin, went through the basics of a DSLR Camera, of how it works, what all the function buttons are used for, depending on what kind of Camera you are using.

My Camera is a Nikon DS5300. I have not had the camera very long , so I am just finding my way around the technical side of its usage. I can use the basics, like for example taking a picture, but have always struggled with getting my head around the settings. For example, the ISO setting, what is the correct Aperture to use, and shutter speed.

Here is some tips and hints for me to learn, so that I can produce better pictures and have a better understanding of how my camera works, that I have written down from Kevin.

The smaller the aperture the better the depth of field.

White balance, take a picture of a piece of white paper to set the temperature to daylight. Due to mixed lighting for example Studio lighting, florescent lighting, experiment with different kinds of lighting.

Use the manual setting function , this give you better control of the shutter speed, correct exposure and focus.

I - button you can see the adjustments on the back of the camera screen.

there are 4 settings called the Metering mode The centre spot id better for exposure.

Shooting in Raw - This records all the image of the subject you are taking a picture of.

CDC Sensor - size 35mm - cropped frame APS-C (Nikon D5300) X 1-5 to get a full frame - focal length.

Adobe RGB - its best to always shoot in this.

Remember....... The size of the Aperture........ Wider the aperture, the smaller the depth of field, smaller the aperture the bigger the depth of field.

Robert Mapplethorpe - Photographer

Image 1 - Breada 1979 - Robert Mapplethorpe

Image 2 - White gauze 1984 - Robert Mapplethorpe

The 2 images above are taken by Robert Mapplethorpe. http://www.mapplethorpe.org/

Robert Mapplethorpe is an American artist, sculpture and photographer who was not afraid to express his own feelings in his artistic work, he experimented with different kinds of materials, environments. Things as simple as a loaf of bread to extreme controversial subject matter....he experimented, don't be afraid of the subject matter. If it feels right, express it, make it known.

Always question yourself....... what if !!!!

Photographic History

Photography is a word derived from the Greek words photos ("light") and graphein ("to draw"). The word was first used by the scientist Sir John F.W. Herschel in 1839. It is a method of recording images by the action of light or related radiation onto a sensitive material.

Pinhole Camera

Alhazen (Ibn Al-Haytham) was a great authority on optics in the Middle Ages who lived around 1000AD. He invented the first pinhole camera (also called the Camera Obscura} and was able to explain why the images were upside down.

The first casual reference to the optic laws that made pinhole cameras possible was observed and noted by Aristotle around 330 BC. He questioned why the sun could make a circular image when it shined through a square hole.

The First Photograph
On a summer day in 1827, Joseph Nicephore Niepce developed the first photographic image with a camera obscura. Prior to Niepce, people just used the camera obscura for viewing or drawing purposes, not for making photographs. By letting light draw the picture, Niepce's heliographs, or sun prints as they were called, were the prototype for the modern photograph.
Niepce placed an engraving onto a metal plate coated in bitumen and then exposed it to light. The shadowy areas of the engraving blocked light, but the whiter areas permitted light to react with the chemicals on the plate. When Niepce placed the metal plate in a solvent, gradually an image, until then invisible, appeared.

However, Niepce's photograph required eight hours of light exposure to create and would soon fade away.

Louis Daguerre

Fellow Frenchman, Louis Daguerre was also experimenting with ways to capture an image, but it would take him another dozen years before Daguerre was able to reduce exposure time to less than 30 minutes and keep the image from disappearing afterwards

Daguerre was the inventor of the first practical process of photography. In 1829, he formed a partnership with Niepce to improve the process Niepce had developed. In 1839, following several years of experimentation and Niepce's death, Daguerre developed a more convenient and effective method of photography and named it after himself.
Daguerre's daguerreotype process started by fixing the images onto a sheet of silver-plated copper. He then polished the silver and coated it in iodine, creating a surface that was sensitive to light. Then, he put the plate in a camera and exposed it for a few minutes. After the image was painted by light, Daguerre bathed the plate in a solution of silver chloride. This process created a lasting image that would not change if exposed to light.
In 1839, Daguerre and Niepce's son sold the rights for the daguerreotype to the French government and published a booklet describing the process. The daguerreotype gained popularity quickly and by 1850, there were over seventy daguerreotype studios in New York City alone.

Negative to Positive Process

The inventor of the first negative from which multiple positive prints were made was Henry Fox Talbot, an English botanist, mathematician and a contemporary of Daguerre.

Talbot sensitized paper to light using a silver salt solution. He then exposed the paper to light. The background became black and the subject was rendered in gradations of grey. This was a negative image. And from the paper negative, Talbot made contact prints, reversing the light and shadows to create a detailed picture. In 1841, he perfected this paper-negative process and called it a calotype, Greek for beautiful picture.

Tintypes

Tintypes, patented in 1856 by Hamilton Smith, was another medium that heralded the birth of photography. A thin sheet of iron was used to provide a base for light-sensitive material, yielding a positive image.

Wet Plate Negatives

In 1851, Frederick Scoff Archer, an English sculptor, invented the wet plate negative. Using a viscous solution of collodion, he coated glass with light-sensitive silver salts.

Because it was glass and not paper, this wet plate created a more stable and detailed negative.

Photography advanced considerably once sensitized materials could be coated on plate glass. However, wet plates had to be developed quickly before the emulsion dried. In the field, this meant carrying along a portable darkroom.

Dry Plate Negatives & Hand-held Cameras
In 1879, the dry plate was invented, a glass negative plate with a dried gelatine emulsion. Dry plates could be stored for a period of time. This meant photographers no longer needed portable darkrooms and could now hire technicians to develop their photographs. Dry processes absorbed light so rapidly that the hand-held camera was now possible.

Flexible Roll Film

In 1889, George Eastman invented film with a base that was flexible, unbreakable and could be rolled. Emulsions coated on a cellulose nitrate film base, such as Eastman's, made the mass-produced box camera a reality.

Colour Photographs

In the early 1940s, commercially viable colour films (except Kodachrome) were brought to the market. These films used the modern technology of dye-coupled colours in which a chemical process connects the three dye layers together to create an apparent colour image.

Advancements in Photographic Films & Photographic Prints

Photographic Films

The first flexible roll films, dating to 1889, were made of cellulose nitrate, which is chemically similar to guncotton. A nitrate-based film will deteriorate over time, releasing oxidants and acidic gasses. It is also highly flammable. Special storage for this film is required.
Nitrate film is historically important because it allowed for the development of roll films. The first flexible movie films measured 35-mm wide and came in long rolls on a spool.

In the mid-1920s, using this technology, 35-mm roll film was developed for the camera. By the late 1920s, medium-format roll film was created. It measured six centimetre's wide and had a paper backing that made it easy to handle in daylight. This led to the development of the twin-lens-reflex camera in 1929. Nitrate film was produced in sheets (4 x 5-inches), ending the need for fragile glass plates.

Triacetate film came later and was more stable, flexible as well as fireproof. Most films produced up to the 1970s were based on this technology. Since the 1960s, polyester polymers have been used for gelatine base films. The plastic film base is far more stable than cellulose and is not a fire hazard.
Today, technology has produced film with T-grain emulsions. These films use light-sensitive silver halides (grains) that are T-shaped thus rendering a much finer grain pattern. Films like this offer greater detail and higher resolution, translating to sharper images.

Photographic Prints

Traditionally, linen rag papers were used as the base for making photographic prints. Prints on this fibre-base paper coated with a gelatine emulsion are quite stable when properly processed. Their stability is enhanced if the print is toned with either sepia (brown tone) or selenium (light, silvery tone).
Paper will dry out and crack under poor archival conditions. Loss of the image can also be due to high humidity, but the real enemy of paper is chemical residue left by the photographic fixer, a chemical solution cued to remove grain from films and prints during processing. In addition, contaminants in the water used for processing and washing can cause damage. If a print is not fully washed to remove all traces of fixer, the result will be discoloration and image loss.
The next innovation in photographic papers was resin-coating or water-resistant paper. The idea was to use normal linen fibre-base paper and coat it with a plastic (polyethylene) material, making the paper water-resistant. The emulsion is then placed on a plastic covered base paper. The problem with resin-coated papers was that the image rides on the plastic coating and was susceptible to fading.
At first, colour prints were not stable because organic dyes were used to make the colour image. The image would literally disappear from the film or paper base as the dyes deteriorate. Kodachrome, dating to the first third of the 20th century, was the first colour film to produce prints that could last half a century. Now, new techniques are creating permanent colour prints that last 200 years or more.

New printing methods using computer-generated digital images and highly stable pigments offer permanency for colour photographs.

Advancement of the Camera

By definition, a camera is a lightproof object with a lens that captures incoming light and directs the light and resulting image towards film (optical camera) or the imaging device (digital camera).
All camera technology is based on the law of optics first discovered by Aristotle. By the mid-1500s, a sketching device for artists called the camera obscura (dark chamber) was common. The camera obscura was a lightproof box with a pinhole (later lens were used) on one side and a translucent screen on the other.

This screen was used for tracing by the artists of the inverted image transmitted through the pinhole.

Around 1600, Della Porta reinvented the pinhole camera. Apparently, he was the first European to publish any information on the pinhole camera and is sometimes mistakenly credited with its invention. Johannes Kepler was the first person to coin the phrase Camera Obscura in 1604. And in 1609, Kepler further suggested the use of a lens to improve the image projected by a Camera Obscura.

Daguerreotype Cameras

The earliest cameras used in the daguerreotype process were made by opticians, instrument makers or sometimes even by the photographers themselves. The most popular cameras utilized a sliding-box design. The lens was placed in the front box. A second, slightly smaller box slid into the back of the larger box. The focus was controlled by sliding the rear box forward or backwards. A laterally reversed image would be obtained unless the camera was fitted with a mirror or prism to correct this effect.

When the sensitized plate was placed in the camera, the lens cap would be removed to start the exposure.

Box Camera

George Eastman, a dry plate manufacturer from Rochester, New York, invented the Kodak camera. For 22 dollars, an amateur could purchase a camera with enough film for 100 shots. After use, it was sent back to the company, which then processed the film.

The ad slogan read, "You press the button, we do the rest." A year later, the delicate paper film was changed to a plastic base so that photographers could do their own processing.

Eastman's first simple camera in 1888 was a wooden, light-tight box with a simple lens and shutter that was factory-filled with film. The photographer pushed a button to produce a negative. Once the film was used up, the photographer mailed the camera with the film still in it to the Kodak factory where the film was removed from the camera, processed and printed. The camera was then reloaded with film and returned.

Flashlight Powder

Blitzlichtpulver or flashlight powder was invented in Germany in 1887 by Adolf Miethe and Johannes Gaedicke. Lycopodium powder (the waxy spores from club moss) was used in early flash powder.

Flashbulbs

The first modern photoflash bulb or flashbulb was invented by Austrian Paul Vierkotter. Vierkotter used magnesium-coated wire in an evacuated glass globe. Magnesium-coated wire was soon replaced by aluminium foil in oxygen. In 1930, the first commercially available photoflash bulb was patented by German Johannes Ostermeier. These flashbulbs were named the Vacublitz. General Electric also made a flashbulb called the Sashalite.

Filters - Frederick Charles Luther Wratten (1840-1926)

English inventor and manufacturer Frederick Wratten founded one of the first photographic supply businesses in 1878. The company, Wratten and Wainwright, manufactured and sold collodion glass plates and gelatine dry plates.
In 1878, Wratten invented the "noodling process" of silver-bromide gelatine emulsions before washing. In 1906, Wratten, with the assistance of Dr. C.E. Kenneth Mees (E.C.K Mees), invented and produced the first panchromatic plates in England. Wratten is best known for the photographic filters that he invented and are still named after him, the Wratten Filters. Eastman Kodak purchased his company in 1912.

35mm Cameras

As early as 1905, Oskar Barnack had the idea of reducing the format of film negatives and then enlarging the photographs after they had been exposed.

As development manager at Leica, he was able to put his theory into practice. He took an instrument for taking exposure samples for cinema film and turned it into the world's first 35 mm camera: the 'Ur-Leica'.

Polaroid or Instant Photos

Polaroid photography was invented by Edwin Herbert Land. Land was the American inventor and physicist whose one-step process for developing and printing photos created instant photography. The first Polaroid camera was sold to the public in 1948.

Disposable Camera

Fuji introduced the disposable camera in 1986. We call them disposables but the people who make these cameras want you to know that they're committed to recycling the parts, a message they've attempted to convey by calling their products "single-use cameras."

Digital Camera

In 1984, Canon demonstrated the first digital electronic still camera.

https://www.thoughtco.com/history-of-photography-and-the-camera-1992331

Studio Lighting Demonstration

Basic Techniques for Lighting a Range of Subjects - Martyn Pearson.

Today in the studio, Martyn showed us how to use the studio lighting equipment, to its best advantage, to light up an arrangement, single object or subject.

He came into class with various objects that had been lying around the art department. He told us, " Its not what you are photographing, its how you make it come to life that matters" " How you make it look, sensual, sexy, perfect, appealing to the public, customer or observer.
To get a feel for the object, plan your thoughts into a picture, that you see in your minds eye, even before you enter the studio, feel how you want it to look, plan ahead.

Below are some pictures that I had taken during Martyn's demonstration in the Studio

Pictures taken on my Nikon D5330

Image 1 - Getting the right feel. looking at the project, correcting lights, checking out shadows, are they where you had thought they would be?

Image 2 - Adding strobe lighting to give a different kind of light, to bring out hidden secrets, or areas that are screaming to be lit up, like writing on an old box, to add a bit more depth and ambience to the final picture.

Image 3 - Moving your objects around, if your not happy with how they are showing up in the photo, or not showing up on how you had envisaged it in your minds eye finished photograph.

Image 4 - Checking for dead areas, areas that are in the shadow, do you need to add any more lighting, or maybe moving the lights around, or changing different settings slightly, so the light feathers on a certain area, to cast a gentle touch of light,

Image 5 - Have you achieved the image in your photo that you had in your minds eye? has it turned out how you wanted it to ? did you want to have the lights in the picture, were they part of the scene. ( In this case yes)

Evaluate how you would do it differently next time if it didn't turn out exactly how you had planned it to go.

Quote Martyn Pearson. Tutor
" NEVER BE SATISFIED, THERE IS ALWAYS ROOM FOR IMPROVEMENT"

Don't Rush A Shoot

Students should be aware how long a photography shoot can take, it is not just a matter of going into the studio setting up your camera and taking a couple of shoots then pack away again, you can be in there for days to get the right quality image you require, there is a lot of time and effort that goes into your work, take pride, if you are struggling ask questions

Here is a link to a u tube video that shows you how long it can take to set up and shoot.

http://www.bing.com/videos/search?q=Photography+Studio+still+life&&view=detail&mid=7D64D3810607F7B726BB7D64D3810607F7B726BB&FORM=VRDGAR

My First Studio Shoot- 03/10/16

Today I have had my first studio shoot. I had planned what materials i was going to use at home, in fact I had spent all Sunday night thinking about how I had wanted it to look, scouring the house like a madman, looking for objects that I thought would create a stunning ambience lighting effect..... how it would feel!!

When I got to University, I was told it had to be a shoot of something of no real significance, like an everyday object, by a couple of the others students, this threw me off guard a bit.... had I not listened in class ?? ... was I being over ambitious with my ideas, like my grand design that I had envisaged in my minds eye?....as it was my first studio shoot after all. so I compromised, and used a couple of objects that I had in my handbag and studio props.

Here are the results.

Image 1- Nikon D5300 - setting ISO 1600 55mm F14 1/3 sec.

Image 1 This result was not how I visualised it, mostly because I had not planned to use these items. But I did want to create some shadow, through the holes in the toggle and spoon handle. The composition was poor, there is to much white back ground and the object is not in the centre of the picture, the settings on the camera where totally wrong, the picture itself is not crisp enough, the lighting was in the wrong place, however I did get some shadow, but not as visual as I wanted. I also felt there was something missing.

Image 2 - Nikon D5300 - setting ISO 1600 55mm F14 1/3 sec.

Image 2 -As I liked the shadow, I decided to add some more objects to get a better depth of shadow from the apple, I also felt it looked visually better than the first picture. The Composition is still wrong, there is too much white at the front of the slate, and the objects are to far away. I still hadn't changed the background but had moved the camera, why I don't know as I had only to move the lens. I had moved the light slightly.

Image 3 - Nikon D5300 - setting ISO 1600 55mm F14 1/3 sec.

Image 3 - This time I thought I would try a white back ground, as you can see in the picture, this was totally the wrong thing to do, you can see that its there from the gap at the bottom and how I had positioned it. The light is way to bright, again I did move the light, which made me realise it was in the wrong position. The picture quality is still poor, and I haven't changed the composition of the object. or changed the settings on my camera.

Image 4 -Nikon D5300 - setting ISO 400 55mm F8.0 1/3 sec.

Image 4 - Ok the penny has started to drop and I am realising about changing the settings on the camera, I have changed the aperture from F14 to F8, and ISO setting to 400, however the photo is way to bright, due to the aperture being to big. I still haven't changed the composition of the object( you think I would have clicked this by now) I did try having the light on a brighter setting, the photo is slightly clearer, and I do like the shadow effect from the toggle on the apple, how to better this I wondered!!

Image 5 - Nikon D5300 - setting ISO 400 55mm F14 5.0 sec.

Image 5 - Ok the penny has finally dropped, I have changed the composition of the object, however I changed the camera, instead of changing the lens, by doing this I hadn't realised until I took the photo how much background I had left, its far too much, you can see the edge of the table, the lighting is still wrong, but I have got a better crisper image, this was also due to going back to aperture F14 and changing the shutter speed from1/3 to 5.0 sec.

Image 6 Nikon D5300 - setting ISO 400 55mm F11 1/100 sec.

Image 6 - On this shot I had changed the camera settings again (Thanks Kevin for the advice) so now the ISO is 400, F11 and 1/100 shutter speed, as you can see the picture quality is much better, sharper, the composition is better, the lighting is better but I am not as keen on the shadow from the toggle, it has lost some of its sharpness.

Image 7 - Nikon D5300 - setting ISO 400 55mm F16 1/125 sec.

Image 7 - Was the last image of the day, it is not the best I have taken, I did change the background by adding a plank of wood, which I felt would bring out the colours of the apple and have a contrast between wood and rusty metal. I also changed the layout of the structure or arrangement of the objects, but they no long look right, a bit randomly placed. I changed the camera settings this time to F16 and 1/125 sec, I did move the lights back slightly for the effect of shadows. I do like how the shadows are falling on to the apple, but not the arrangement or finished photo

My Studio Equipment Set Up

These are pictures I have taken on my mobile phone from my first studio set up shoot.

Image 1 - lighting arrangement, as you can see I have used a desk top area with a sloping background, I wanted to create shadow, but at the time I had not thought about how my photographic background would look like.

Image 2 - This is taken from a different angle of my studio lighting set up.

Image 3 - I have added a wooden shelf for a more framed background, I felt this would give the picture a better contrast, and more composure.

Image 4 - As you can see in this image, there are other students working in the same area, this was, I felt both a distraction but also as a helping tool, as we discussed other students work, how their lighting arrangement was set up and why they had decided to shoot it this way, and for feedback on my own structure.

Image 5 - This picture was taken from behind the curved surface, and it shows my camera set up, was it in the right place ? I had moved it a couple of times. as you can see I had it pointed
right at my structure, was it too close??

Image 6 - This image is of a Bowens light with a Honeycombed head, this is better for softer lighting or feathered lighting.

Image 7 & 8 - This is the Bowens light from the side, showing the power and lamp functions.

Image 8 Bowens light side view

Image 9 - This is the Bowens light showing the controls from the back view, we have Lamp , Beep and View and the power button.

Image 10 - Other students working on their shoots, with other students watching.

image 11 - Photo taken from a different angle of my set up

Self Evaluation

My evaluation of my first studio experience, was in my option very daunting, it was not what I had expected it to be, I was really looking forward to getting in there and creating my master piece.

The time went by so fast, it ran away with me, I had not realised how long it can take to get your arrangement, lighting equipment and camera ready, let alone the composition or the structure of the whole set up. I had been in the studio for over 2 hours and I didn't really produced anything that I would say was a good picture.

I know now that I have to plan, plan and do more planning, ahead of the shoot, to ensure I know how I want my final photograph to look like.

I need to know where i want my camera settings to be, or at least as a starting point, make sure I get my composition right before I even think about my lighting, or shadows, and not to move my camera once I have decided where I want it to be, unless I really needed to.

Then i can try different lighting methods, like starting with one light, and building from there, using a honeycomb shade, or softer lighting, depending on what I am shooting.

All photos are unedited.

I think from all the pictures I had taken image 6 is the best one, because of the colour, shadows, picture quality, composition. overall in excess of 28 pictures I had taken in this shoot.

Studio Shoot 2 - 04/10/16

Today I have had my second shoot in the studio. I thought ok..... yesterday was not too bad, lets put what I had learnt into practice. So because I had this grand design in my mind from Sunday, and it was still in the boot of my car, I thought lets do it.

I bounded into the studio full of confidence, I already know how I want my set up to be, and how I have mentally visualised how it is going to look, yes maybe I will have to do a few tweaks here and there, but that is to be expected as you start to arrange your vision.

Here are the results

Image 1 - Lighting issues - All images shot on my Nikon D5300, ISO 100 27mm F11 1/125 sec. I thought from my first shoot I understood a bit more about lighting, I was wrong the light at the back was in the shot, with wires showing and could be seen through the object, the light I had on the front was too direct and too bright. all the back was a dead area.

Image 2 - ISO 100 27mm F11 1/160 sec. I changed the Shutter speed on this photo, as you can see I still have dead areas, composition is bad, too much sides showing and a darker picture.

Image 3 - ISO 100 27mm F13 2.5 sec I changed the shutter speed again but it was way too much, you can now see all the background, wires, lights and shadows, I also changed the aperture, again the composition is still wrong...(practise more)( remember smaller is bigger - bigger is smaller)

Image 4 - ISO 100 27mm F13 2.5 sec - Martyn advised me to look at the composition and suggested I changed the camera angle from landscape to portrait, this gave the phot a better composition as it doesn't show as much of the sides, but you can still see the light and there is too much space at the top of the photo.

Image 5- ISO 100 27mm F13 2.5 sec, I moved my camera, but forgot to focus, but you now cant see the light, the picture is blurred and there is still too much space at the top of the photo, and there is a lot of dead space, I think I turned one of the lights off at this point, but by now my head is battered with it all....

Image 6 - ISO 100 38mm F13 2.5 sec, this photo shows that the penny is dropping (a little bit) and I have moved my camera again. I have also changed the focus setting, but forgot to focus my camera, but it is beginning to look a bit better composition wise.

Image 7- ISO 100 55mm F13 2.5 sec I came in again with the focal lens its a much better composition, I also changed the lights to fall on top of the mushroom, I still needed to move the back light as its now showing through the wicker box as much as I wanted it to. I also wanted to light up the glass snail at the front.

Image 8 -ISO 100 55mm F16 2.5 sec That's me changing the light at the back of the structure, I asked Marie ( one of the other students) to take a picture to see what it looked like and if it was showing at all in the photo, and if there was any dead areas showing up. I had also changed the aperture a little bit.

Image 9 - ISO 100 55mm F16 2.5 sec. This picture shows how by using a handheld torch on the snail and sun dial, I also had the back light shining more on the mushroom, the ivy can also be seen more clearly.

Image 10 - ISO 100 55mm F16 2.5 sec I decided to move the strobe (coloured lights) about a bit to see what effect this had, which was nothing except now I have a dead area again where the sun dial and snail are. And the centre of the photo is too dark.

Images 11 and 12 - ISO 100 55mm F16 3.0 sec These 2 pictures show the difference between moving the strobe lights, and how using a torch on the top of the area where the snail is, capturing more light onto the snail how it brings it to life. the central area is still a dead area and to dark

image 13 - ISO 100 55mm F18 3.0 sec I have changed the aperture slightly and shutter speed on this photo, there is also better lighting on the snail, as you can see more detail, also the Bowen light has been moved to light up the front of the mushroom. its getting there but still a long way to go.

Image 14 - ISO 100 55mm F18 3.0 sec. This photo has been edited in light room, this is more what I had in my minds eye when I first thought about how I wanted the end result to look like. As you can see the torch light has lit up the sun dials numbers and it catching the light in the glass top part of the snail. I have also cropped the photo as I feel this composition looks more pleasing to the eye, its not as busy.

My Studio Equipment Set Up

Image 1 - I took pictures on my mobile phone to demonstrate how I had my studio set up for the beginning of the shoot, I did remove the yellow light before I starting taking my photos. I also changed the Bowens light at the back to a floor standing light pointing up at the back of the structure.

Images 2 and 3 are more or less the same from the cameras view point, but with the Bowens light (on right photo) brighter.

Image 4 - This photo is taken from a lower angle to show more of the centre of the structure which I didn't really manage to enhance to its best image.

Self Evaluation

I thought from my first photo shoot I had better understanding of how the lights should be placed, but from the images above it is obvious I don't full understand yet how to light the subject/structure up in the right areas.

I took many photographs in total there was 74, I wanted to experiment with where the lights would sit on the structure and look best, where my dead areas would be, as I moved the lights around. I also changed my camera angle, and camera settings, I think by doing this it will give me more understanding of how my aperture and shutter settings work together, this is something I have found very hard to understand, it has never been something I have really given much thought to when I have been taking my photographs, but it is only now I am beginning to understand.

I would like to come back to this structure further down my learning path, and set it up again to see how far or how much I have learnt.
I have also decided to put my ISO, shutter speed and aperture settings on each picture/photo. This I am hoping will help me understand more the technical side of the camera, as this is something I know I am weak in.

All the images except the last 2 - images 13 & 14 have not been edited.

Observations

Observing other students, their set up, asking questions about their settings and arrangements.

I felt like my head was going to explode after my 2nd shoot, so much information to take in, and grasp, I felt like a complete failure. I understand it is early days, and that I have never worked in a studio before, but I felt so inadequate, so when the next studio opportunity arose, I opted to do some computer work on my blog instead, as I didn't want to become an even bigger failure.

I realised that this is not the way to learn, to learn we have to experience failure. so I decided to go back and observe other students doing their photos, how had they set up their equipment differently, to how I had set mine up. Where had they placed their lights, and how many lights had they used, and more importantly why ??

I asked a couple of students if I could take a couple of photographs of their lighting set ups and arrangements.

Image 1 Image 2

image 1 ,2, &3 are one set up arrangement.

Image 3

image 4 and image 5 are another students set up and arrangement.

Studio Shoot 3 - 10/10/16

Ok so after the last studio shoot, I thought I better start off with a smaller object, so I could get my head around this lighting malarkey, I had a couple of ideas, which I may go back to at a later date.
I love glass and how the light captures the essence of the colours and textures, or how the light dances over the imperfections in the glass, so I thought I would like to photograph a glass object with another object with a huge texture contrast, hence the coconut shell.

I asked Andrew (student) how he had photographed his camera shoot, as I like how the final result, composition, light and the contrast of the Black and white looked. I asked him what settings he had used on his camera, and because I had observed how he had his studio arrangement set up, so I thought I would start off with one light with a snoot attachment, was maybe all I need to get me started, as I could always add more if required.

While I was setting this arrangement up, and was happy with the composition, and camera set up, and was ready to start making my pictures, another Student Oliver asked if he could observe me.

I stated taking a couple of picture on the settings Andrew (student) had given me - ISO 100 55mm Aperture F18/22 Shutter speed 1/125 .

Here are the results

Image 1 - ISO 100 55mm F18 1/200 This was the first picture taken, as you can see the picture is too dark, composition was good, I was happy with that.

Image 2- ISO 200 55mm F13 1/100 - I adjusted the ISO setting, shutter speed and the aperture settings slightly on this picture, you can see the image clearer in this picture, but also you can see the blue tack at the bottom of the coconut shell. Oliver said you couldn't see the edge of the coconut shell, dead area, we discussed ways of lighting this up by either adding another light source. you can also see the background more than I had wanted.

Image 3 -ISO 200 55mm F13 1/100 On this image I moved the Bowens light to see how the lighting would look and changed the camera backwards slightly.

Image 4 - ISO 200 55mm F13 1/100 On this image we discussed lighting and how we should give the object some breathing space, I have never heard of this before, this gives the object a more defined outline, as it appears to be lost in this image.

Image 5 - ISO 200 55mm F13 1/100 - we discussed moving the lighting or to turn it down slightly to see the effect it had on the object and result in the photo, this was not a good idea as the object in the picture is too dark.

Image 6 - ISO 200 55mm F13 1/100 This image i forgot to focus my lens correctly before I took the picture, also you can still see the background edging slightly

Image 7-ISO 200 35mm F13 1/100 in this image we discussed changing the focal lens to see the effect it had on the image

Image 8 - ISO 200 55mm F13 1/100 Me and Oliver discussed changing the lighting again for experimentation of the effect on the subject and moved the black cardboard it was sitting on.....note to remember ...check your camera image before taking picture. its out of focus and you can see the blue tack

Image 9 - ISO 200 55mm F13 1/100 Me and Oliver discussed lighting the side of the coconut shell with a torch, so we changed the angle of the object to its side a little bit and tried to light the side. As you can see the light was not strong enough

Image 10 -ISO 200 55mm F13 1/100 I moved the lighting slightly on this image, while Oliver shined the torch nearer, this is a better image, it is picking up the side of the coconut, and the composition is better

Images 11 & 12 ( image 11 ISO 200 55mm F13 1/160) ( image 12 ISO 200 31mm F13 1/100) these 2 images are were we discussed changing the shutter speed and focal lens.

Image 13 - ISO 200 55mm F13 1/100 This image was taken for lighting effect if it was turned up to bright.

Image 14 - ISO 200 55mm F13 1/100 this image has had its composition changed, I wanted to see what it would like with the mushroom just sitting outside the coconut. This image has been edited in light room.

The next couple of images are shown without the coconut shell, as I wanted to see the Mushroom on its own, and how the light and shadows would look and fall .

Oliver suggested getting the camera lower on the mushroom, he explained that by making something look larger than it was gives it a different view point, and by shining a light directly from above, can again give the image a different look. it makes the top of the mushroom look more vibrant, and gives it more depth.

Images 1 and 2 - (image 1 ISO 200 55mm F13 1/100) ( image 2 ISO 200 55mm F8.0 1/100 Image 1 has the light directly above it, image 2 the aperture was changed to see the effect it would have on the image picture.

Image 3- ISO 200 50mm F14 1/100 this image has been edited in light room, and cropped, the focal lens, and aperture was changed slightly. You can see the shadows and the slither of colour in the shadow, and there appears to be a smaller shadow within the shadow, the back ground is dark, which was the effect I had wanted, the colour on the top of the mushroom is brighter with the light still above.

By this time me and Oliver was both getting excited with the results of the images, by experimenting and playing with lighting arrangements and camera settings, you will learn how to get your photographs how you envisage them to look in your minds eye.

Well I was on a roll by now and suggested another idea, adding water, Oliver was all for it, and it didn't matter how long we had been in the studio.
Ideally I wanted a black tray but found a plate in the student dining area. I had a rough idea of how I wanted the image to look like as I have practised this at home with running water on a pot cat, ( I will add a couple of images at a later date) before I had started university as I wanted to get the running water cloudy and slowed down, so you could see the water droplets.

Here are the results

Image 1 - ISO 200 50mm F8.0 1/100 This images show water being poured over the top of the mushroom and how the light catches the reflection on the top. This plate is the wrong thing to use, because the background spirals distract the eye a little bit, but a mirror or black tile would have looked a lot better. This image has been edited in light room.

Image 2- ISO 200 50mm F14 1/100 As you can see in this image the water is dripping off the mushroom and has been captured in the photo. The ripple effect on the plate was seen here too, as well as the colour shadow from the mushroom on to the plate.

Image 3 - ISO 200 50mm F14 1/100 I like the effect of the ripples in the water in this picture, it is more defined and has given the picture another focal point and a different dimension.

Image 4 (ISO 200 50mm F14 1/100) and image 5 (ISO 200 50mm F14 1/100)
Both these images show the mushroom with it led on its side, we experimented with the lighting by pointing it directly from above, to see the shadow and also from the side again as an experiment to see what the image would look like.

Images 6 and 7 ISO 200 50mm F18 1/160 are to experiment with how editing can change your final image, by cropping away the surround area and enhancing the colours.

The last 2 images - I went to the art room to rummage around to see if I could find a black tray, or some other background material I could try out, I remembered the metal printing sheets from Martyn's studio demonstration and thought I would like to see the mushroom on a shiny background. I found a small black tray in the dark room and put water over the metal sheet, time was now getting the better of me and I would have liked to have a bigger tray with more water to see how that would look.

Image 1- ISO 200 48mm F18 1/160 I adjusted the focal lens and aperture slightly, I do feel that it is too bright on this image. but due to time I have shown image 2 after I have edited it in light room, I cropped the sides and enhanced the colour a little bit
I still think its a little bit bright and would like to come back to this again.

Image 2 - ISO 200 50mm F14 1/100

My Studio Equipment Set Up

Images 1 & 2 - Taken from my mobile phone, the studio lighting set up for the shoot, from different angles.

Image 2

Self Evaluation

This has been my 3 time shooting in the studio, I felt more confident today, as I had planned more effectively, I had known what I wanted to achieve, or at least getting nearer to achieving my end result, which is to have a good photo, and to have a better understanding on why or how I was photographing my object.

I had asked other students about their set ups and their camera settings, and why they had done this in previous observations before i had even started setting mine up. I had also looked at their final results.

Working with Oliver has also been a very good learning curve for me. Oliver has had some experience of working in a studio environment, and is more familiar with lighting and their effects. I didn't know about breathing space, giving your object some room, or had even thought about lighting it from directly above, between us we had discussed and experimented with lighting, composure, different effects, from the use of different materials, we both listened to each others ideas and worked well as a team.

This is the one of the final images I am submitting for my studio module.

I chose this image because of the composition arrangement of how the distribution of the water cascading over the mushroom. I also love the contrast of the black & white, with the reflections and shadows.

Studio Class Work - 07/10/16

Today in class Martyn talked about photographers and their works, and what ideas influenced their creative photographs, he showed us some examples and asked us to research works from John Blakemore, Olivia Parker and Paulette Tavormina.

Here are some examples of their photographic art

John Blakemore

Image 1 - Tulip work

Image 2 - Tulip work

Image 3 - John Blakemore

Image 4 Tulip work.

John Blakemore is a British photographer , who is still alive today, he didn't start out as a photographer, his primary subject was drawing wildlife.

His mother sent him an issue of "Picture Post" while he was serving as a Nurse in the war , which invoked his interest or intrigue of landscape photography.

He worked for 4 years in a Studio environment, and had to find his own way around, as there was no - one to show him

The Tulip genre of works developed over a decade, which was mostly photographed on his kitchen worktop.

Most of his work is started by exploring a subject or theme but spanning it out over a number of years through a series of pictures.

Olivia Parker

Image 1 - Olivia Parker photographer

Image 2- Box of dolls

Image 3 - "Metal starfish" ( This is what it appears to look like to me)

Image 4 - Suitcase of bones.

Olivia Parker has been producing photographs now for over 40 years. She originally started out as a painter, Her still life works are mostly portrayed in black and white, however she has produced some works in colour. Her photographs are mostly known for the use of photographing items in boxes or in a structured format, in a neat arrangement, they are simple everyday items like dolls, shells, flowers, but have displayed and lighted in a way to evoked your imagination. The back ground is as important as the image you are making.

Paulette Tavormina

Image 1 - Botanical V11 ( Tulip)

Image 2 - Figs and morning Glory

Image 3 - Melon & Grapes

Image 4 - Paulette Tavormina

Paulette Tavormina is an American photographer. Her digital photographs look more like paintings from the 17th century. Her still life photos mostly depict fruits and flowers, and vegetable's, they have beautiful naturel colours and are very fine in detail, it is also arranged in a style which gives the viewer the effect of looking at a grandeur painting. Her influence was the Dutch, Spanish and Italian painters of still life art works, Giovanna Garzoni and Adriaen Coorte.

Still life is the most challenging and demanding intellectually of all photography genres, you have to master all , You, the subject and the light.

A quote by Frances Hodgson on photography

"The best photograph is not just a picture of something, it is an object about something.

Studio Shoot 4 - 10/10/16

This is now my 4th time shooting in the studio, I wanted to try using a different lighting arrangement, one I had not used before, to experiment with the different types of lighting equipment we have access to. I had also planned how I wanted my end result to look like, and what materials I was going to use. A boxing glove on a stick.
I decided to use the light boom, I am feeling a little bit more relaxed in the studio now and feel my confidence is growing a little bit more, the more I can understand how my camera settings work and why. The more I practise, the better I will become. I had planned that I wanted to shoot a boxing glove on a stick, still keeping the object/subject simple. I also wanted to show reflection from a mirror.

Here are the results

Image 1 - ISO 100 29mm F22 1.0 sec - This was a test shot, to see how the light would fall, if there was any shadows, or dead areas. I wanted to show the glove in the dark, but with some reflection from the mirror.

Image 2 - ISO 100 29mm F22 1/400 sec - I do like the red against the black on this image, however I do think the glove looks a bit lost, there is too much surface black and it looks like the wooden handle is coming out of thin air.

Image 3 - ISO 100 29mm F20 1/400sec - I decided for this shot it would better led down flat on the mirror, there is still too much back ground, and the mirror looks odd or displeasing to the eye.

Image 4 - ISO 100 29mm F10 1/125 sec - I thought with this picture I would add a bit more light by changing the aperture to a lower number so it would let more light in, this was far to bright for the effect I had wanted. I had also changed the position of the light boom, which can be seen in the reflection from the mirror.

Image 5 - ISO 100 29mm F10 1/125 sec - I had decided to remove the mirror as it was too small for the shot, I used a larger black slate, I moved the boom light to the right a bit to give the glove a softer glow, and focused the light more on the wooden stick. . I also decided that the camera angle needed to be nearer and a bit lower.

Image 6 - ISO 100 29mm F10 1/125 sec - I moved the camera lower, and moved the boom light more to the right , so it was more this time focusing on the glove, the glove still looks a bit lost in this picture, but I do like the light better over the glove.

Image 7 - ISO 100 45mm F10 1/125sec . In this image I wanted to go closer to the glove, as I felt the stick had now become a distraction, so I turned and pointed the glove right to the camera, and went in even closer. The composition is a lot better on this photo. There is a little bit of a dead area, or shadow under the glove. I do like the shadow, it gives the photo a moody look.

Image 8 - ISO 100 45mm F10 1/125 sec - This is the same image as image 7, but what I did in this picture was to add a light from under the glove, this was done by using a mobile phone light, as you can see it has enhanced the lighting under the glove, this looks a lot better, it gives the glove more depth.

Image 9 - ISO 100 34mm F9.0 1/125sec - I wondered what the image would like with the mirror behind it, what I had not taken into count was the reflection in the mirror of my hand pressing the camera, I realised as soon as I had done it, again another learning curve for me.

Image 10 - ISO 100 34mm F9.0 1/125sec . I had decided to get rid of the mirror once and for all, Martyn suggested giving the glove some more shadow, I did this by moving the light above more to one side at the back of the glove. This image has been edited and cropped.

Image 11- ISO 100 45mm F9.0 1/125sec - This image has been cropped and edited. The light was above the glove and was positioned more at the front.

Image 12 - ISO 100 45mm F9.0 1/125sec -This image has been cropped and edited

I took a total of 48 pictures.

My Studio Equipment Set Up

This is the equipment I used for my 4th studio shoot. I used a boom light which is a light that hangs over the object you are photographing, this lights the subject from above, casting light down. It can be moved and set to cast light from either side. Images 1,2,3 show my original set up, where I had the boxing glove propped up and placed on a mirror, with my camera looking down. as the shot progressed you can see (Image 4) that I had moved the boom lighting nearer to the glove and lowered my camera so I was closer to the glove. In Image 5 you can see I had moved the camera from the side to the front so my camera was looking directly so I facing the tile in a more vertical way, also the camera has been moved lower down . Image 6 shows the glove from a horizontal position

Self Evaluation

I felt this shoot went better than my last 3, I still have a lot to learn about how I want my final photos to turn out, by this I mean I feel I still need to play about with my lighting and take lots of pictures to see where shadows fall and how by moving the light a fraction you can change the whole end result. I also learnt that it is sometimes a good idea to change your planning, as the photo shoot progresses, you can solve problems that occur during the shoot, for example for me it was the mirror, it was a big distraction, even though I had planned on having it from the beginning, by experimenting with it, and observing how it looked, I realised that the photo looked better without it.
I did know I had to get my camera nearer to the glove but I wanted to experiment with different angles, to see how the glove looked from above, from the side and finally in front.

This is one of the final images I am submitting for my studio module.

I like the composition and lighting in this image, I like the contrast of the backgrounds, even though they are similar in colour they have a different texture, with the plain black and the marble, the you have a bright colour in the middle of the picture.

Running water test shoot - revisited

I did say I had been experimenting with running water on my pot cat in a sink. (see shoot 3) where I wanted to capture the water droplets in a slower motion shutter speed. i have done this twice now the first time i tried this experiment i didn't use a tripod, and got a bit of camera shake, so i didn't manage to capture the images at there best. i have gone back to this and used a tripod. here are some of the results.

Image 1 - 1st experiment

Image 2 - 1st experiment

Image 3. -1st experiment

These next set of images are from when i went back to the same idea, with the running water, only with a better understanding of why and how i need to have my camera set to capture the water and image quality. I set the shutter speed to a slower setting at approx.. 1.6 - 2.5 sec, I Had my camera on a tripod in front of the sink.

Image 1 - ISO 100 40mm F22 2.0 sec- Smoky eyes- you can tell the sink was getting full with this image as it appears to have mist swirling round the cats eyes. this was also taken in the bathroom, with a standard light fitting, which was quite bright.

Image 2 - ISO 100 40mm F8 1.6 sec - I like this one in Black & White, The camera was set up on a tripod in the front of the kitchen sink. There was a large window just above it, it has natural light coming in through the window. I like the black plug, I did crop it in light room but I wanted to show it was a kitchen sink. it shows off the water better too.

Image 3 - ISO 100 40mm F8 1.6 sec - I like the glow from the water on this one. the light from the window and the flash from the camera has enhanced it, giving it a ghostly glow. I did crop this image for a different perspective.

Image 4 -ISO 100 40mm F22 2.0 sec - smoky water & drips

Pictures Through a Macro Lens

I do like to experiment or play with my camera to see how my photographs show different images, some crisp, clear, some misty, some blurred, I do and have spent hours sat in my garden taking pictures, trying the different settings and looking at the results.

I guess like most photographers who are learning the trade , so to speak !!!
if you don't try, you wont know the results.

I was in the garden taking pictures with my macro lens, of bugs, spiders, one of my cats was sat on the window sill, inside the house watching me. I was outside and took the next few images through the glass window and Macro lens.
The day was bright and cloudy, the natural light was behind me, and some reflections from trees, plants, my clothing can be seen in the final images.

I like the effect and reflections in the next few images.

Image 1 - I love the eyes in this picture, the contrast is poles apart, one is brighter and bigger than the other, they almost look like different colours.

Image 2 - Normally he wont let you get close to him, but because I was behind the window (so to speak) I was able to get different angles and photographs that I may not normally been able to capture. it is something I will remember for future reference.

Image 3 - I love this, most people would not be able to tell what it is a picture of, the colours are amazing, this is actually the cats body pressed against the window (glass) he is a white and grey cat. The green is a reflection colour from a tree in my garden, the purple is a reflection from my top, it was also quite a sunny day and the light was bright but not too bright, I guess it proves how lighting can change the final images.

Image 4 - I have edited this photograph in light room, I decided this one looked better in Black & White, the hairs on his ears are the main focal point, your eyes are drawn to them.

Image 5 - I like how his eye and side of his nose are the main focal points in this image.

Image 6 - I tried to capture the "Look" in this image, I think maybe I should have cleaned his eyes before hand.

Image 7 - I put my finger on the window and he put his head downwards for me to rub it, I think you can see this in his eyes.

Image 8 - You can see a bit of green reflection from the tree in this picture, how it dances off his eye.

Image 9 - I was trying to capture the eyes again in this image, but I think , or I am at least drawn to the pink nose, it does look a little bit like a fish eye lens photograph.

Image 10 - This image shows shallow depth of field very well in this picture, how the nose and eyes are in focus and how the rest of his face blurs so the image is not as crisp.

I learnt from these images that you cannot always predict how the final images will turn out. yes you have a rough idea, you see the image but.......What I mean by this is, reflections, colours or how the sun was in the sky at that particular point or moment in time when you pressed the button, that can be picked up by your camera, that your eyes do not always see.
They say the camera never lies !!! but does it alter the truth to the viewer??

Here are a couple of pictures from when I have been practising, or playing in the garden.
These have taken with my macro lens of the bugs, flies and spiders and other garden/field life critters.

I used my basic kit lens Nikon DX VR AF-5 Nikkor 18-55mm 1:3.5-.6G11, with a Top Max Digital high definition 0.45X Super wide angle lens with macro - Japan optics

Image 1 - spiders wet web. I used my basic kit lens Nikon DX VR AF-5 Nikkor 18-55mm 1:3.5-.6G11, with a Top Max Digital high definition 0.45X Super wide angle lens with macro - Japan optics

Image 2 - In hiding. I used my basic kit lens Nikon DX VR AF-5 Nikkor 18-55mm 1:3.5-.6G11, with a Top Max Digital high definition 0.45X Super wide angle lens with macro - Japan optics

image 3 - Snails pace. I used my basic kit lens Nikon DX VR AF-5 Nikkor 18-55mm 1:3.5-.6G11, with a Top Max Digital high definition 0.45X Super wide angle lens with macro - Japan optics

Image 4 - No place like Home. I used my basic kit lens Nikon DX VR AF-5 Nikkor 18-55mm 1:3.5-.6G11, with a Top Max Digital high definition 0.45X Super wide angle lens with macro - Japan optics

Image 5 - New life I used my basic kit lens Nikon DX VR AF-5 Nikkor 18-55mm 1:3.5-.6G11, with a Top Max Digital high definition 0.45X Super wide angle lens with macro - Japan optics

Image 6 - Grass home. I used my basic kit lens Nikon DX VR AF-5 Nikkor 18-55mm 1:3.5-.6G11, with a Top Max Digital high definition 0.45X Super wide angle lens with macro - Japan optics

Image 7 - Reproducing I used my basic kit lens Nikon DX VR AF-5 Nikkor 18-55mm 1:3.5-.6G11, with a Top Max Digital high definition 0.45X Super wide angle lens with macro - Japan optics

Image 8 - vampire I used my basic kit lens Nikon DX VR AF-5 Nikkor 18-55mm 1:3.5-.6G11, with a Top Max Digital high definition 0.45X Super wide angle lens with macro - Japan optics

Image 9 - Spider....Man I used my basic kit lens Nikon DX VR AF-5 Nikkor 18-55mm 1:3.5-.6G11, with a Top Max Digital high definition 0.45X Super wide angle lens with macro - Japan optics

Image 10 - Busy as a Bee I used my basic kit lens Nikon DX VR AF-5 Nikkor 18-55mm 1:3.5-.6G11, with a Top Max Digital high definition 0.45X Super wide angle lens with macro - Japan optics

Image 11 - Petal I used my basic kit lens Nikon DX VR AF-5 Nikkor 18-55mm 1:3.5-.6G11, with a Top Max Digital high definition 0.45X Super wide angle lens with macro - Japan optics

A Brief Explanation of Macro Photography

"Macro photography, is extreme close-up photography, usually of very small subjects and living organisms like insects, in which the size of the subject in the photograph is greater than life size. By some definitions, a macro photograph is one in which the size of the subject on the negative or image sensor is life size or greater. However, in other uses it refers to a finished photograph of a subject at greater than life size."

https://en.wikipedia.org/wiki/Macro_photography

This is the lens I have and used for the above images. They are very basic, and in expensive, you can pick them up on EBay for approximately £10.00 or cheaper. It can be a good starting point to see if this is the kind of genre photography you like to work in.

Studio Lighting - Portrait Photography 21/10/16

Today in the studio Martyn went through lighting set up or arrangements for Portrait photography. before we went into the studio we had a brief in the classroom, he asked us to research 4 photographers and research The Inverse square law.

http://www.geofflawrence.com/inverse_square_law.html

Please see link for full information. below is a small extract from the link.

As you can see from the diagram the beam of light fans out quite quickly and the object furthest from the light receives only a small proportion of the light, most of the beam misses the target.
The more the beam is focused the higher proportion of the light will fall on the object. With a theatrical spotlight for instance which has a very narrow beam, much more light will fall on the object.
In photography though we don't tend to use highly focused beams as they produce a very harsh light, too contrasty for our purposes. So the inverse square law, as a rule of thumb, works very well for us. If you would like to know more about the maths involved try this Wikipedia Article on the Inverse Square Law.

Image 1 - Michael Langford's Basic Photography book. I have purchased this book from Ebay, for a couple quid, and delivery. £5.50 (total) . It is now becoming my bedside bible.

Observations

Image 1 - Students getting the lighting ready for portrait shoot, Large reflector back drop, lighting, chair

Image 2 - (a bit blurred) students getting the lighting ready for Martyns studio portrait shoot

Image 3 - Students getting ready for portrait studio shoot from Martyn the tutor.

Image 4 - Students working, and observing in the studio.

Image 5 - observation's with studio lighting and students in the studio environment.

Studio Lighting Practise at Home

New Lens - Nikon DX AF-S Micro NIKKOR 40mm 1:2.8G - results

I have taken a couple of portrait photographs of my youngest son, as practise shots for my photo assignments week 3 - portraits - Shallow depth of field. I also cant believe he let me take his photo, so i had to grab the moment while i could.

Image 1&2 - are the same image, one is in colour one is in Black& White - for comparison

Image 2

Image 3 - trying out different lighting effects - Sun light from the window

Image 4 - Light from sun coming in through the window, it was a bright day.

Image 5 - The moody look - sunlight from the window, not as bright, ad changed to Black & White, which gives it the appearance of a moody look.

Image 6 - Taken from a different angle to see how the sunlight from the window falls.

Image 7 - In this image i stood back further from Alex and took the picture - sunlight from window.

Image 8 - This was taken in a different room where the lighting is not as bright. i think this picture is the best one, because it shows more of Alex's face and the shadows have more depth, and the angle of the camera, at which the picture was taken from, close but not too close, and slightly looking up.

New Lens - Nikon DX AF-S Micro NIKKOR 40mm 1:2.8G

I have bought a new lens off my sister, who is also a university student (2nd year). I enjoy shooting in macro, getting up close to things that cannot be seen in as much detail. I am now trying this new Lens out to see what it can achieve.

A DX-format normal Micro lens for easy, full-fledged close-up shooting

TOKYO - Nikon Corporation is pleased to announce the release of the AF-S DX Micro NIKKOR 40mm f/2.8G, a normal Micro lens for Nikon DX-format digital-SLR cameras offering a focal length of 40mm and a maximum aperture of f/2.8.

As a normal Micro lens that easily enables close-up shooting as close as 0.163 m for life-size images exhibiting pleasing blur characteristics, the AF-S DX Micro NIKKOR 40mm f/2.8G is a new model in the DX-format lens lineup. It is a compact and lightweight lens available at a very reasonable price for those new to digital-SLR cameras and those currently looking to add to a lens purchased as a set with a Nikon digital-SLR camera. In addition to a built-in Silent Wave Motor(SWM) that enables the quiet autofocus operation vital to close-up photography of insects and animals, the AF-S DX Micro NIKKOR 40mm f/2.8G also offers a number of convenient features, including two focus modes—M/A (autofocus with manual override) and M (manual).

Nikon has long had the support of professional and advanced amateur photographers for its consistent development of innovative products that respond to the demands of users and are equipped with the optical technologies Nikon has spent years cultivating as a manufacturer of optical devices. Nikon intends to continue to expand and strengthen the NIKKOR lineup with the steady release of new, high-performance lenses that offer advanced functions.

AF-S DX Micro NIKKOR 40mm f/2.8G Primary Features

A bright and fast, normal Micro lens for DX-format cameras offering a 40mm fixed focal length and a maximum aperture of f/2.8
Enables the life-size reproduction and pleasing blur characteristics possible only with a Micro lens
Enables extremely close-up shooting with a minimum focus distance of just 0.163 m
Equipped with a Silent Wave Motor (SWM) for extremely quiet autofocusing
Equipped with two focus modes: M/A (autofocus with manual override) and M (manual)
A size and weight that makes it very portable

AF-S DX Micro NIKKOR 40mm f/2.8G Primary Specifications

Focal length	40mm
Maximum aperture	f/2.8
Minimum aperture	f/22
Lens construction	9 elements in 7 groups
Angle of view	38°50'
Minimum focus distance	0.163 m(1:1) from focal plane
Maximum reproduction ratio	1x
No. of diaphragm blades	7(rounded)
Filter attachment size	52 mm
Dimensions	Approximately 68.5 mm diameter x 64.5 mm (distance from camera lens mount flange)
Weight	Approximately 235 g
Supplied accessories	52 mm snap-on Front Lens Cap LC-52, Rear Lens Cap LF-4, Bayonet Hood HB-61, Flexible Lens Pouch CL-0915.

Photographer Research

Irving Penn

Irving Penn was an American photographer known for his fashion photography, portraits, and still life. Penn's career included work for Vogue magazine, which started in 1943 and lasted for over 60 years. some of his works are currently being shown in Manchester Art Gallery until the 31st October 2016 as part of the Vogue's 100 centenary exhibition, below are 3 images from the Vogue exhibition. His work has been exhibited internationally and continues to inform the art of photography.

Here are some example of his Photographs

Image 1 - Alfred Hitchcock by Irving Penn, currently being shown in the Manchester art gallery until the end of October 2016 as part of the Vogue 100 celebration

Image 2 - Trueman-Capote by Irving Penn currently being shown in the Manchester art gallery until the end of October 2016 as part of the Vogue 100 celebration

Image 3 - Salvador Dali -by Irving Penn, currently being shown in the Manchester art gallery until the end of October 2016 as part of the Vogue 100 celebration and who i am studying in our contextual studies at university.

Irving Penn - Small Trades Series

In 1950 Irving Penn was sent to Paris on an assignment, by "Vogue" magazine, they wanted him to photograph the workers of Paris. ( please see the 3 example images below) . This is how Penn's monumental photography work "Small Trades" began.

Between the years of 1950 and 1951, Penn travelled extensively between Paris, London, and New York taking photographs of people in their work wear, to produce an extensive photographic portrait of each city's skilled tradespeople in their work clothes, carrying different tools of their professions.

Image 1 - examples from the book small trades

Image 2 - examples from the book small trades

Image 1 - examples from the book small trades

Albert Watson

Image 1 - Photographer Albert Watson.

Albert Watson is a Scottish photographer who is well known for his fashion, celebrity and art photography. His work is featured in galleries and museums worldwide. He has shot over 100 covers of Vogue, which is being shown at the Manchester art gallery "Vogue" 100 exhibition until the 30th October, and 40 covers of Rolling Stone magazine since the mid-1970s.
Albert Watson has been established as one of the 20 most influential photographers of all time, along with Richard Avedon and Irving Penn, among others.
Watson has won numerous honors, including a Lucie Award, a Grammy Award, the Hasselblad Masters Award and three ANDY Awards,. He was awarded The Royal Photographic Society's Centenary Medal and Honorary Fellowship in recognition of a sustained, significant contribution to the art of photography in 2010. Queen Elizabeth II awarded Watson an Order of the British Empire in June 2015 for 'services to photography'.

Here are a couple of examples of his Photographs

Image 1 - Johnnie Depp ( My heart throb) portrait by Albert Watson

Image 2 - Kate Moss Portrait by Albert Watson.

Albert Watsons Photograph's have been published in several books over the years including Cyclops, where image 2 Kate Moss features. His images are clean looking, crisp and sharp, his unique style of photography is what sets him apart from the rest.

Image 3 - One of the Book covers from the book Cyclops showing works by Albert Watson. Which i have just bought from Amazon, for my research. I love the dark richness, and clear images of the self portraits in this book.

Jane Brown

Image 1 - Photographer Jane Brown

Jane Hope Brown as she was known was born on the 13th March 1925 in Dorset, and died on the 21st December 2014. she was 89 years old when she died.

She was a portrait photographer, who only worked in Black and white ,with a simplistic camera technique. She was asked to try colour in the 60s but found she didn't like it so went back to shooting in Black and white, she also only used natural lighting, she did however carry a small desk lamp in her bag if the lighting was really bad. She worked for over 65 years , shooting photographs for the Observer. She took wedding photographs for a time until her former tutor, Ifor Thomas, having spotted her natural talent, and put her in touch with Mechthild Nawiasky, the artist, who was working on the picture desk at the Observer.
Jane Brown has taken photographs of thousands of people, from the rich and famous to every day working class people, she took photographs of people who's faces captured her interest.

Image 1 - Portrait of Samuel Becket - photographer Jane Brown , This image was captured at the stage door at the Royal Court after he had declined to see her.

^{Image 2 - Jane Brown, Photographer on right holding camera, with Bette Davis (Getty / Hulton Archive)}
looking at this Photograph, reminds me of a woman working in a mans world.

Image 3 - John Lennon former Beatle - by photographer Jane Brown. John Lennon took to Jane, he was know to find Jane's unthreatening demeanour, relaxing., he would let her stay longer than he should which comes across in the photographs

Annie Leibovitz

Image 1 - Photographer Annie Leibovitz.

Annie Leibovitz is an American photographer. Who me and my friend had been discussing , when i had started at university, she had asked me if i had known about her, i had not, My friend was very happy about this, because she had. Deborah, my friend goggled her and showed me some of her images.
Annie's trademark technique, which involved the use of bold primary colors and surprising poses, has made her photographs unique

In 1970 Annie landed a job at Rolling Stone and went on to create a distinctive look for the publication as chief photographer. In 1983 she began working for the entertainment magazine Vanity Fair, continuing to produce images that would be deemed iconic and provocative. Having also worked on high-profile advertising campaigns, Leibovitz's images have been showcased in several books and major exhibitions around the world.

Here are some examples of her work

Image 1 - From Annie Leibovitz - Disney dream portrait series

Image 2 - The singer, Taylor Swift taken from Annie Leibovitz - Disney dream portrait series

Image 3 Actress, Scarlett Johansson taken from Annie Leibovitz - Disney dream portrait series

Image 4 - Actress Merrill Streep, Portrait photograph taken by Annie Leibovitz, photographer.

Lighting Tips

Beware of light flare from over head lighting.
A parabolic reflector is good for lighting large areas, it stylized the images of today.
Bigger the light force the smaller the image, the smaller the light force the more contrast in the image.
Look for shadows, see where they fall across the face, body and backgrounds, they are a good source for lighting and enhancing different areas for different effects. For softer lighting use a reflector or cover the camera with ND filters or a simple pair of tights, tissue paper, try out different materials. and use a larger aperture

Lighting Practice - Task at Home

I have been using different lighting around my home, and taking pictures to see how the lighting effects the images, and how our own eyes can deceive us. I wanted to know how and where shadows lie and thought I would look at different ways to photograph things, like from different angles, or different back grounds, I have taken some photos with my camera set up so you can see how I had starting to experiment.

I used natural light from the window, as you can see in the first 2 images. Please note when using natural light that the light can vary depending if the sun is out, or if it has gone behind a cloud, this can change your whole set up, and effect your final results, where you might have to have extra lighting available, for example a torch, small desk lamp.

In the next 3 images i used LED lighting, as you will see in my photos i used this with the coloured glass covering the LED lights, i also tried using the lighting without the glass, and with the light coming through the wicker of the Mushroom.

Here are my results.

Natural light with a torch shinning in different areas of the images.

Image 1 - ISO 400 40mm F4.0 1/80 sec - using just Natural light from the window

Image 2 - ISO 400 40mm F4.0 1/80 sec - using just Natural light from the window

Image 3 - ISO 400 40mm F4.0 1/30 sec - Black & White image with a slight change in shutter speed, using just Natural light from the window

Image 4 - ISO 400 40mm F4.0 1/30 sec - using just Natural light from the window and a torch shone from just under the bottom of the flower.

Image 5 - ISO 400 40mm F4.0 1/30 sec - using just Natural light from the window, this time with the torch shining in the centre stem of the flower.

Image 6 - ISO 400 40mm F4.0 1/80 sec - using just Natural light from the window and a small light underneath the flower but from a distance.

Image 7 - ISO 400 40mm F4.0 1/80 sec - using just Natural light from the window.

Image 8 - ISO 400 40mm F4.0 1/80 sec - using just Natural light from the window and focusing more on the leaves

Image 9 - ISO 400 40mm F4.0 1/30 sec - using just Natural light from the window, and changing my camera angle

Image 10 - ISO 400 40mm F4.0 1/30 sec - using just Natural light from the window and shinning a small torch in the centre of the 2 flowers

Image 11 - ISO 400 40mm F4.0 1/30 sec - using just Natural light from the window and using the torch again at the centre of the 2 flowers but with a slight change in the camera angle.

Image 12 - ISO 400 40mm F4.0 1/30 sec Black and White image, using natural light from the window, which was brighter as the sun had come out a little bit.

Image 13 - ISO 400 40mm F4.0 1/30 sec This is the same image as image 12, but in colour, using natural light from the window, to show you how different a photograph can look shown in colour and Black & White.

Most of the images above have been edited in Light Room.

As you can see from the results above the flower image changes by adding natural light and a small torch or ambient lighting, This can give the image a different look and feel, weather it be a natural look or a warm glowing effect, this is achieved by moving the light, and sometimes just by moving the camera angle a touch, can start creating shadows and highlighting different areas, this enhance the colours in darker areas, that are not being picked up from the natural light or you can produce a moody feel to the photograph.

I love wood, the feel of it, it can feel hard to the touch, and cold, but yet can feel smooth, and warm. I love how you can see the different textures, lines and colours of this substance, how it can be shaped and changed. I have taken a couple of pictures with different types of wood.

Image 1 - ISO 400 40mm F4.0 1/15 sec Black & White image using natural light from the window, with the camera quite close.

Image 2 - ISO 400 40mm F4.0 1/30 sec Colour image (same as image 1) to dhow the different effects of Black and White and use of Colour using natural lighting from the window.

Image 3 - ISO 400 40mm F4.0 1/50 sec I have changed the woods image, by turning it up side down to view the roughness and show the different contrasts and textures that the same piece of wood has.

Image 4 - ISO 400 40mm F4.0 1/40 sec Colour image from a different camera angle.

Image 5 - ISO 400 40mm F4.0 1/40 sec Black & White (same as image 4) to show the use of Black & White to Colour images.

Images 6 & 7 show different focal points, different depths of field.
so in image 6 you can see that the small mushroom is in clear focus whilst the back ground is blurred.
Image 7 shows the background is more in focus and the small mushroom now has become out of focus.

Image 6 - ISO 400 40mm F4.0 1/40 sec

Image 7 - ISO 400 40mm F4.0 1/40 sec

Image 9 - ISO 400 40mm F4.0 1/40 sec

Image 8 - ISO 400 40mm F4.0 1/40 sec

Images 8 &9
show different lighting effects, image 8 has natural light coming from the window, whilst image 9 has a small torch light shining onto the mushroom heads.

LED/Strobe lighting - playing, experiencing the use of different light sources.

In these images i used LED lighting from my lamp and the natural light coming in from the window and in some pictures i used extra lighting by using a small torch.

Image 1 - ISO 400 40mm F4 1/40 sec M - This image was taken using Natural lighting with a torch shinning into the crystal, you can see that it has highlighted up and gone through to the wood figure.

Images 2 & 3
Image 2 -ISO 400 40mm F8 1/3 sec M - Image 3 - ISO 400 40mm F4 1/10 sec M
These 2 images are the same wooden figure but by changing the camera angle and using the light torch to shine in different areas you can see that, the focus changes and the shadows change, this give the same wooden figure 2 completely different looks. I used a paper birthday card back ground on these, you can just see the writing on the back ground.
you have to be aware of the whole picture in the camera before you take the photograph.

Image 4 - ISO 400 40mm F4 1/40 sec M - I wanted to see the image in black and white for a different contextual look and feel to the image. to see where the shadows would lie, and how the crystal would look, and where it would light up.

Image 5 - ISO 400 40mm F11 1/80 sec M - I wanted to focus on the curtain detail in this image, the crystal is out of focus, but i do lie how the light has picked up some of the areas. i also wanted to see this in black & white.

Image 6 - ISO 2000 40mm F11 1/3 sec M - On this image i changed the ISO setting, shutter speed and aperture setting to see how the image would turn out. I wanted to achieve a really crisp image of the crystal

Image 7 - ISO 400 40mm F25 1/3 sec M - I realised that i didn't really have to change my ISO setting so high so i changed it back to 400, i also wanted to give the crystal a different back ground, the writing on the birthday card in this image, i think works, because it shines through to the front of the crystal, i did have a torch shinning from the top and used the LED light from below shinning up. I also like the shading on this image, how it is lighter at the bottom and darker on the top

Image 8 - ISO 100 40mm F25 1/3 sec M - IN this image you can see i pointed the torch right at the crystal, the Led light was still below and slightly to the right and there was natural light coming in from the living room window, as i was shinning the torch i caught the crystal and it started moving a little bit, i do quite like the effect from th - e movement, even though it has made the image a little bit blurred.

Image 9 - ISO 100 40mm F25 1/3 sec M - This image shows you the crystal in black & white, you can see the LED light from below and how i had a torch light pointing down onto the top of the crystal, i love how the background shadowing looks on this image, how it sort of fades into darkness.

I enjoyed doing this lighting shoot, i learnt that by moving the camera slightly that you can achieve different images from the same object, and that by using different lighting technique's your photographs can feel different, they can look warm or cold, can be flat or give a real depth of field or shallow depth of field, They can appear for the object or images to jump out at you , or force you eyes to a pacific point in the image created. And by changing the settings on the camera you can get a crisper more clear image, i think the key is to play about with your settings slightly to give you the image you are trying to achieve. and to understand why.
Don't be afraid to play, with the settings, I have learnt that the picture that you have taken may be a bit blurred, or dark, or over exposed.
The camera sees the image different to our own eyes. Its our own eyes that can produce via a camera a different image to view.

Studio Shoot 5 - 31/10 16

This is the 5th time I have been shooting in the studio. I had used still life up to this point. My nephew, who is 8 was in university, he had his black Halloween costume, with white bones printed on the front, with a gold mask, and black hood at the back.. I thought the gold colour and the reflections from the lights would make interesting images, I wanted to see how the light would reflect, where it would reflect. I had not photographed a young child before in the studio.

Image 1 - ISO 100 52mm F5.6 17.9sec - This was my first test image. The camera was hand held, as you can see in the image I should have set the camera on a tripod, as the shutter speed was to slow for hand held.. I moved the camera towards the black & White reflectors, this has been captured, and looks like a double exposure, and is too bright, over exposed.

Image 2 - ISO 1008 52mm F6.3 2.5sec On this second image, I changed the ISO setting And aperture, which is still to low or too bright, over exposed I also changed the shutter speed, but I still hand held the camera, which caused motion in the mask.

Image 3 - ISO 1000 52mm F16 15 sec - In this image I have changed the aperture to F16 I still think it needed to go to a higher number - smaller hole. again the image is blurred as it is still in my hand, by this time I knew I need to have the camera on a tripod. I do like this image as it gives it a ghostly feel or quality to it.

Image 4 - ISO 1000 55mm F5.6 1/15sec - This image shows that I have the camera now on a tripod, I shot from the side, but the light which was a honeycomb snoot was directly onto the mask, it makes the rest of the image look flat, it doesn't give it any real depth.

Image 5 - ISO 1000 55mm F5.6 1/6sec - I moved the camera to the front of the mask and had the light pointing forwards, this is now getting to be a better image, however there is still no definition of the out line of his body, or any depth of field.

Image 6 - ISO 200 55mm F22 0.77sec This image is now showing more definition of his body, you can see that by changing the aperture to F22 - smaller hole, that it is letting less light in but because I have changed the shutter speed to 0.77sec and fetched the ISO down to 200 the image is beginning to take shape.

Image 7 - ISO 200 55mm F22 0.77sec. I decided that I wanted to try and add some form of strobe lighting around the eyes, my idea was to have to circles in the eye sockets of the mask., as you can see, the shutter speed was too fast and captured my hand with the phone lighting.

Image 8 - ISO 200 55mm F22 1/125sec
I changed the shutter speed again so it would be slower so I could get my hand out of the picture, I think it was too slow in the image to capture the strobe light but I do like the result of this image, it is moody looking. and you can see the detail emerging on his top.

Image 9 - ISO 200 55mm F22 1/125sec . I decided to take another picture with the same settings, however you can just see the back ground line from the reflector board, I removed it from the next few images. I like this image because he is looking right at me, its moody for the occasion.

Image 10 - ISO 200 55mm F22 1.3 sec - I thought I had got my settings how I wanted them so it took me a while to understand why this shot was so bright, and blurred and over exposed. I realised after another few images that someone had put the studio light on. and that there was now another form of light in the image. I realised that when you are shooting in the studio you have to be aware of your surroundings, as well as concentrating on the results of the image, to beware of any environmental changes.

Image 11 - ISO 200 55mm F29 5 sec - I went back to the idea of lighting the eyes, Martyn suggested using gel sheets to give it a red glow I couldn't get the effect I had in my head, this was due to having only one strobe light and not turning the light round in time so was being caught on the image. I think for this to work you would have to have 2 forms of lights one for each eye, maybe with assistance or lots of practise. I played around with the lights and did several different images of these shots.

Image 12 - ISO 200 55mm F stop - Multiple values x2. in this image you can just see the red light leaving the top of the image, but I liked the reflection of the red in this images, so I wanted to explore this more.

The next set of images are of the mask on a glass mirror with different light sources, strobe light, fuelled light (lighter)

Image 1 - ISO 200 55mm F32 5 sec - This was the mask on a glass mirror with light reflected into the eye of the glass from underneath the black cover.

Image 2 - ISO 200 55mm F32 5 sec With this image I was using a strobe/torch light with coloured gel paper over the light, as you can see I still haven't managed to mater the red eye look .. yet !!

Image 3 - ISO 200 55mm F32 5 sec - This image was created by using a lighter inside the hood, the reflections are thrown around the inside of the hood from the glass mirror.

Image 4 - ISO 200 55mm F32 5 sec This was the final image of the day/shoot, there is 2 strobe lights one with red gel paper and the main Bowens light. I like how the lights are reflected on the mask.

Equipment Set Up

,
Unfortunately i didn't take any pictures from my studio shoot this time, i feel that i should have done because i can always reflect back to how i had set my shoot up, what equipment i used and where i had placed the lighting and object/subject, this has been a learning curve for me and i will now always make sure i have time to take the set up as well as the shoot.

I did have 2 reflector back drops, one placed at the left and one behind Soul. a chair for him to sit on and 1 Bowens light on a tripod, with a soft box fitting.

Self Evaluation

I didn't realise how hard this shoot would be. I hadn't taken in the factor that i would be using a subject (Soul) that had his own mind, what i mean by this is, when you are using a live subject, they can move around, get bored, you have to be firm, reassuring, polite but come across with clear instructions as to what you want from them, talk to them, make them feel relaxed, ask them to stay in a certain position until you can or are happy with

the image you want to achieve.

Again it comes down to planning before hand, making sure you have set your studio equipment and sorted other things, like where you want your lighting, how you want the final image to look like, before you ask them to come in to the studio.

Plan- Plan- Plan, and Plan some more.

This is one of the final images I am submitting for my studio module.

I like the presence in this picture, almost a cocky attitude, I like how the child has his head back, and you can only see one of his eyes.

Film Camera's - Martyn's studio class 08/11/16

Cost Comparison - Digital V Film

Digital Film

Costs are a rough guide

Camera - £800.00............................................................................................Camera £65.00

Lens - £1000.00...............................................................................................Lens £150.00

Computer/laptop - £1000.00...........................................................................Computer/laptop £0.00

SD cards - £25.00............................................................................................Film (per year) £225.00

Printer - £250.00.............................................................................................Dark Room £150.00

Paper (per year) £100.00.................................................................................Paper £100.00

.........................................................................................................................Chem mix £25.00

Learning outcomes

You will see the functions of a SLR camera.

You will see the importance of using film.

You will see the Functions of a medium format camera.

* Experiment - something that you don't know how the results are going to turn out, it is a judgement skill, you only have 24/36 exposures, you cannot look at the image, decide if you don't like it and delete it, like you can on a digital camera.

Slow is really important - you need to take your time, practise often, remember the rules of the procedure ( will follow later)

1) Advantage of shooting on film camera, every decision you make , you are in control, of the colour, or tone, the fundamental construction of the film.

2) Physical feel, NO photograph exists until it is printed.

NOTES ( some information has been taken from the internet, for research purposes)

Miniature format - 35mm

Depending on film, which comes in either 24 or 36 exposures, with a width size of 36mm by 24 mm

you can purchase film in Black & White or colour. It also has a media format of 120cm (length of film)

Bigger negatives need less enlargement than smaller negatives to achieve the same size print.

SLR = Single Lens Reflex

A single-lens reflex camera is a camera that typically uses a mirror and prism system that permits the photographer to view through the lens and see exactly what will be captured. When the shutter button is pressed on a mechanical SLR, the mirror flips out of the light path, allowing light to pass through to the light receptor, allowing the image to be captured.

Image 1 - example of a 35mm SLR camera.

Image 2 - example of how a SLR camera works.

Smaller cameras are easier to use, they are lighter to hold and run around with, good for when you need quicker photographs.

TLR= Twin Lens Reflex

is a type of camera with two objective lenses of the same focal length. One of the lenses is the photographic objective or "taking lens" (the lens that takes the picture), while the other is used for the Viewfinder system, which is usually viewed from above at waist level.

In addition to the objective, the viewfinder consists of a 45-degree mirror (the reason for the word reflex in the name), a matte focusing screen at the top of the camera, and a pop-up hood surrounding it. The two objectives are connected, so that the focus shown on the focusing screen will be exactly the same as on the film. However, many inexpensive "pseudo" TLRs are fixed-focus models. Most TLRs use leaf shutters with shutter speeds up to 1/500th sec with a B setting.

For practical purposes, all TLRs are film cameras, most often using 120 film, although there are many examples which used 127 film, 35mm film. No general-purpose digital TLR cameras exist, since the heyday of TLR cameras ended long before the era of digital cameras.

Image 1- Example of a TLR camera

Image 2 - Example of how a TLR works.

Medium Format Cameras

medium format cameras was predominately used for commercial purposes, for their image quality, crisper , cleaner pictures, but they was very heavy and required the use of a tripod.

The Hasselblad camera comes in 6cm by 6cms and produces a square print.

Image 1 -Example of a Hasselblad medium format camera.

Image 2 - USA advertisement of the Hasselblad camera.

Large Format Cameras

Image 1 - Example of a large format camera.

Image 2 - A example of how a large format camera works.

Large format cameras, didn't have rolls of film, they captured the image on sheets, these came in 2 sizes, 4" by 5" and 8" by 10"

This type of camera was a favourite camera for the Photographer Ansel Adams.

Image 1 - Ansel Adam - Photographer

Ansel Easton Adams was an American photographer and environmentalist. His black-and-white landscape photographs of the American West, especially Yosemite National Park, have been widely reproduced on calendars, posters, and books.

Image 2 - Ansel Adams - Reflections, Merced River, Yosemite National Park, 1948

Image 3 - Ansel-Adams-gallery-Yosemite.

Studio Lighting Class Film Camera - 14/11/16

Part 1

Considerations of Shooting Film

Notes - Sinc speed of 1/125 sec - set shutter speed (or reduce) 1/60sec
Measure volume of light - light meter - cheapish to buy approx. £80.00 for reflection, ambient light, flash light, cable required, to plug into back of light.
mode button on meter.
Test shutter speed ^ up arrow v down arrow.
Point towards the camera hold the light meter to the subject - to ensure correct shadow/light O half would be best covered in shadow.
You can sill take the picture even if the exposure is slightly over exposed.
Make sure you use all exposure on the film

Dark Room

Image 1 - Example of Black & White equipment set up.

Below is a link to a U tube tutorial video of a dark room equipment set up, and equipment required.

https://www.bing.com/videos/search?q=Black+and+White+Darkroom+Setup&&view=detail&mid=B65C4AC2859CD25FF2D9B65C4AC2859CD25FF2D9&FORM=VRDGAR

Dark Room Observations

Image 1 - Dark Room Equipment to enable Negative processing.
Image 2 - Kevin explaining how to put your film into the Paterson Universal tank, and how we should ensure the lid is firmly closed

Image 3 - Kevin showing students, how to roll your film on to the spool inside the tent, so it does not become exposed to light, which would "fog" the film, and you would not be able to use the film.

Image 4 - The chemicals that we need to develop our film. All the solutions are pre mixed in their own labelled containers, with measuring jugs and funnels.

Image 5 - ID11 Information on the dark room wall, this explains the temperature of the water and times for developing.

Image 6 - ID11 Information on the dark room wall, this explains the Film values I.E Per 120 film and Per 35mm film, ratio of developer to water.
Image 7 - ID11 Information on the dark room wall, this explains the development, stop bath wash and wetting agents.

Notes

Stock solution - Developer set timer for 9 mins (slightly more rather than less)
Water temperature is 20c for all developing +/- 1 degree
Fixer 1-4 (already mixed) set timer for 9 mins
Agitate for 30 seconds initially then tap, then agitate every minute for 10 seconds

Ensure you read procedures on wall, the correct times, and solutions, when process is complete, and the wetting procedure is complete,( tip - only add 1 drop into tank) you can then hang your film to dry.

Hang your film in the dryer, clip it to the rail at the top and put a clip for weight on the bottom of the film, close the door put the temperature to 20% , then switch on. Leave for 20 minutes

TURN OFF THE DRYER BEFORE YOU OPEN THE DOOR - DUE TO DUST.

While this procedure is taking place ensure you clean the area, put the correct chemicals back into the correctly labelled containers, wash the trays, dry off slightly with blue towel and then put them away.

Health and Safety in the Dark Room

CLEAN ANY SPILLS UP IMMEDIATELY
Report any broken equipment or misuse of equipment to staff members.

Home Studio Lighting Practise Friday 18/11/16

Due to a doctors appointment and being ill I did some studio lighting practise from home. I have a salt lamp that gives off a soft orange glow, I have a tall woman statue made out of metal and plaster, I have wanted to photograph this for a while as I love how the light falls on her and how the shadows lie.

Image 1 - This was my home set up - the salt lamp - ambient light from the ceiling light and my camera was hand held.

Image 2 - ISO 400 40mm F3.2 1/30 sec, This image was my test image, with the salt light to the left hand side of the woman with the ambient light above. The orange glow is only at the bottom and the ambient light is at the top, it feels a little bit warm but I was not keen on the overall image, as it didn't look like it does when I'm sat in my chair looking at it.

Image 3 - ISO 400 40mm F3.2 1/30 sec - I had decided that I wanted to show the orange glow off a bit more so took this image to see what just the skirt would be like. I also have a bit of camera shake with this one as I was not steady on my feet and should have used a tripod. However I do like the effect from the lamp and the colour better.

Image 4 - ISO 400 40mm F3.2 1/30 sec - I had the salt lamp in my left hand and the camera in my right as I wanted to see the metal with the orange glow. again the image is a little bit blurred due to camera shake. but as you can see the reflection and shadow are much better.

Image 5 - ISO 400 40mm F3.2 1/30 sec I decided to turn the ambient light off as I wanted to know how she would look in the dark so to speak, with just the salt light shinning. I love how she is in shadow and with the contrast of the orange glow, with just a hint of light catching her face and arms.

Image 6 -ISO 400 40mm F3.2 1/30 sec - This is the same image as above, but with more of the woman's body in view.

Image 7 - ISO 400 40mm F3.2 1/30 sec In this image I held the salt lamp up so you can see the light is falling down from above.

Image 8 - ISO 400 40mm F3.2 1/30 sec - in this image I had the salt lamp again coming up but more to the front of the woman.

Image 9 - ISO 400 40mm F3.2 1/30 sec I like how the light was catching her hand and her arm in this image to my mind it felt like a "female Moment" or a possible statement of her female organs

Image 10 - ISO 400 40mm F3.2 1/30 sec - I like the darkness of this image and how the light id reflecting on her face and hair, I had the light in my hand but had pulled it back and had it angled so the light shone that way.

Image 12 - ISO 400 40mm F3.2 1/30 sec - again the light has caught on the woman's arm and head in this image. I had placed the lamp on the table slightly towards the front but set back.

Self Evaluation

I love the dark, mysterious, exotic colours of the oranges, golds and even perhaps a hint of red in these last few images, I realised that I should have used my tripod so I could have got the images more clearer. I didn't change my camera settings for this shoot either, I thought the images was not as blurred as they where, so a mental note to ensure I have cleaned my glasses before a shoot and maybe a little visit to spec savers is on the cards.
None of the photographs have been edited.

Studio Lighting Class Film Camera - 21/11/16

Part 2

Contact Sheets

Today Kevin took us into the dark room to show us how to make contact sheets, you put the film in to a glass sheet, this reverses the image.
keep them in order, so you know where the number of the negative is that you want to use.
1 contact sheet per film.
then expose to light on a photo sensitive piece of paper
* NOTE only open the paper box when the main light is off. or this will cause the paper to be over exposed and smudge your print.
Always do a test strip - cut a piece of paper into approximately 3-4 strips.
Always emulsion to emulsion (shinny - shinny - dull - dull)
expose for 2 or 3 seconds then cover a portion of the negative with either a box or other object and expose again, ensure you expose about 5 times each time moving the cover a little, and remember what time you chose for the first exposure.

Images 1 & 2 - This is Kevin showing students how to use the developer, what aperture to select and how to set the timer for exposure.

Image 3 - The instructions in the Dark room of how to process the development the film.

Images 4 & 5 More instructions and the 3 trays, with the correct chemicals for developing the prints. ( emulsion side first)

Images 5 & 6 - the results of the prints and observations of other students.

Developing Film 22/11/16

Today Kevin explained how to develop your print, he explained the different kinds of equipment.
1. the colour head. - does lose a bit of contrast
2. Multi grade heads
3. Kizer machines, there is a couple in the dark room for students to use. more sharpness
4. Dever 504 known as the beast - colour head for big enlargements
he showed us how to used the shifty scoop - fine checker to look at the grain on the image.
the lens stops - aperture _ never leave open
close it down 4 stops
test strips 4 second exposure's
these are rough guidelines for the first time use in the darkroom, as you gain experience you will know how you want your picture to look and will emend correctly the times, exposure's and aperture.

My first experience with developing a contact sheet.

Today in the dark room, I had my first experience with developing my first set of contact sheets.
I made the classic mistake of not winding my film of the reel correctly. what I did was to use both hands to twist the spool, instead of holding the left side firmly and still, and just moving the right hand spool only. This resulted in the film not going onto the spool correctly, I did struggle with this.
I did manage to follow correctly the developing procedure, and I have some signs of air bubbles on some of my images, but some of my film had stuck together, so I lost some of the images, due to fogging.
This has been a very good learning curve for me, and I hope that I will not make the same mistake twice.

The subject was " head in a box" which was shot in the studio, and around the university.

Here are the results of my 1st contact sheet, shot in the studio department.

Image 1 - I was in the studio and shot with my film camera B&W 36 exp. I was using just the studio light and a strobe light to highlight areas of the face, as I wanted to see where the light & Shadow would fall. You can also see the bubbles in the film, which I do like as it appears the head is under water.

Image 2 - The picture quality is a bit poor, this was due to the processing of the film, and the film fogging due to me not rolling the film on correctly. However I do like this image, because it looks like the face is underwater and you can see what appears to be the reflection of the water on her face. I also used a strobe light focusing on her eye, glasses.

Image 3 - In this image you can see that a portion of the print has not been exposed correctly showing a black area above the eyes. I also feel this picture is quite eerie, like she is in a middle of a murder scene, in this instance I think it has worked. it has mystery about it.

Image 4 - Elvis is in the building.... I was in the rest area in university, and thought I would like to take a picture of the cup, it was a rainy day and the window had all water droplets running down, I thought it would make a good background. the only lighting I used was from the window (natural light) and the university ceiling lights.

Image 5 - This is another picture that has not been exposed correctly, and you can just see the camera coming out of the shadows. this was shot in the canteen/student rest area in the university, again with natural light and ceiling light. I was sat down on a settee to get a different angle and shadow effect in the background.

Image 6 - I quite like this image, I like the composition, and the grain , it gives the image a bit of mystery, it starts a story. I was stood over the top of the camera giving it an aerial view point of focus. I would crop this image because of the table and what is on the table.

Image 7 - This image is a little bit darker than I would like, but I can lighten this by not exposing the print for as long, this was exposed for 20 seconds. It is an image of another student in the university. I would also use Bowen lights to enhance the facial features if I was to shoot this image again.

All the images are unedited

Evaluating a Photograph That I Have Made.

16/12/16

Image 1

We was asked to take a couple of students into Blackburn town centre. I chose this image because I liked the contrast, and the shape and form of how the pavement looked, felt and flowed.
it was a dull day, there was no sun, it was cloudy, and it had been raining. I thought the leaf that was on the floor would look good as my main starting focal point, and the pavement would have a shallow depth of field and blur out, but not so much that you could not see the pattern, and shape in the stone paving stones.
if I had to shoot this image again I would like to remove all the other leaves in the image, as I feel these give the eye a bit of distraction and break up the patterns in the pavement.

how I achieved this was, I got down on my knees to be closer to the leaf, and to have to give a different view point, from the normal eye level view. I had my Nikon camera settings set to ISO 400 F5 1/250 Sec 42 MM Aperture Priority No Flash. I took several images.

Lighting practice at home using a strobe light (small torch)

Self portraits

I had not really done any self portraits, so I decided to take a few images of my self, but I didn't want to do the full face images, I wanted to try a different approach, and just try with a small torch pointing to my face, to light just small areas. My camera was on a tripod

Image 1 - ISO 200 31 mm F 5.6 1/125 sec - Manual - My camera was on a tripod, I had the main light on, (ambient light) and I was using a strobe light. I had the torch pointing to my face from below pointing upwards. I wanted to see how the image would turn out, where the shadows would fall.

Image 2 - ISO 200 31 mm F 5.6 1/125 sec - Manual - I have edited this image slightly. In this image I moved closer to the camera, and had the strobe light again pointing slightly upwards, but of more at an angle to amplify my teeth and mouth area. and contrasting skin tones and textures.

Image 3 - ISO 200 31 mm F 5.6 1/125 sec - Manual. This image shows that I have the strobe light pointing at my face, coming in from the right side, slightly below, but nearer, as the light is brighter. I have cropped this image and edited slightly.

Image 4 - ISO 200 31 mm F 5.6 1/125 sec - Manual. In this image I pointed the strobe light further away from my face, but at an angle that was slightly behind but still focusing on my eye socket area.

Still Life

Image 1 - ISO 2000 50 mm F 5.6 1/125 sec - Manual - Hand held. In this image I wanted to see how the light would look on a still life object, and where the shadows would fall. I used a strobe light pointing from the left of the object and points quite a way from the object, there was also some LED light coming from my other light on the left hand side of the object.

Image 2 - ISO 2000 50 mm F 5.6 1/125 sec - Manual - Hand held. I had moved the strobe light, focusing on the base of the object. with the LED light still on the left hand side of the object.

Image 3 - ISO 2000 48 mm F 5.6 1/125 sec - Manual - Hand held . I had moved the camera slightly nearer to the object in this image, but had not really changed the strobe lighting as much, as you can see it is still focusing on the base of the object.

Image 4 - ISO 2000 48 mm F 5.6 1/125 sec - Manual - Hand held . I moved the strobe light away and higher in this image I just wanted the light to catch the top of the object, but with a shadow out line of the whole candle stick.

Still Life Practise with a Toy Car

Image 1 - ISO 200 34 MM F4.5 1/60 SEC Auto - Hand held. This was taken on a dinning room table with the camera hand held with just the main lighting on and a flash on the camera.

Image 2 - ISO 200 45 MM F5 1/60 SEC Auto - Hand held - This was taken in the same environment, but with more focus on the front of the car for a smaller/shallow depth of field .

Image 3 - ISO 160 45 MM F5 1/60 SEC Auto - Hand held . In this image I used a glass placemat, I liked the reflection of the cars and the sparkle from the glass

Image 4 - ISO 200 45 MM F5 1/60 SEC Auto - Hand held , flash used. This is the same image as image 3 but from a different angle for a different look and feel to the image. the image would look better if the glass had been bigger and you could not have seen the wooden table.

Image 5 - ISO 100 45MM F5.6 1/125 SEC Auto - Hand held - flash used. This image was taken from a different ngle to try and block the wooden table /ackground out a little bit.

Image 6 - ISO 100 45 MM F5.3 1/100 SEC Auto - Hand held - This is the same as image 5 but from a different angle.

Image 7 - ISO 400 45 MM F5 1/80 SEC Auto - Hand held - no flash . I like this image the best because it has a shallow depth of field, it draws you into the image, most of the wooden background has been blurred out.

People Portraits Practise

Christmas is a time when family get together and do daft things, its also a good time to take pictures that you wouldn't normally get. Here is a few from my practise over the Christmas period.

Image 1 - ISO 1100 45 MM F5 1/60 SEC Auto - Flash, Hand held This is my partners step mum, Barbara, she doesn't like having her photograph taken.

Image 2- ISO 800 48 MM F5.3 1/60 SEC Auto -Flash, Hand held, This is Di, she was eating as many marshmallows as she could without gagging.

Image 3 - ISO 3200 55 MM F5.6 1/60 SEC Auto -Flash, Hand held - This is my Partner Martin, he also hates having his photograph taken.

Image 4 - ISO 450 55 MM F5.5 1/60 SEC Auto - Flash Hand held This is Martin, he was a bit fresh, and I wanted to take a photograph of his mouth and beard hair.

Image 5 - ISO 6400 38 MM F4.8 1/60 SEC Auto - no flash Hand held - This is my Mum, Lynn, she is another who doesn't like her photograph being taken. I like this image it has captured her eyes and smile.

Image 6 - ISO 900 35MM F4.5 1/60 SEC Auto - Flash Hand held This is my Mum and Sister, Julie, who is also at Blackburn University on the same course as me, but in the 2nd year.

Image 7 - ISO 3200 27 MM F4 1/60 SEC Auto -No Flash Hand held This is my Dad, Jack and my Nephew Soul, this was taken in the living room with just the natural big light,

Image 8 - ISO 6400 27 MM F4 1/50 SEC Auto -No Flash Hand held My partner Martin. I like the image in this picture, it has a very good shallow depth of field.

Image 9 - ISO 5000 55 MM F5.6 1/60 SEC Auto -No Flash Hand held - My Mother love this picture, just wish the hand was not the holding the hair on !!

Image 10 - ISO 5000 36 MM F4.8 1/60 SEC Auto -No Flash , Hand held My Dad , Jack, I love the shallow depth of field on this image.

Image 11 - ISO 1800 36 MM F4.8 1/60 SEC Auto - No flash Hand held, This is Julie, my sons mother in law. I love this image, it has captured the moment the cream hit the face, and shock brilliantly.

Image 12 - ISO 6400 30 MM F4.2 1/50 SEC Auto -No Flash, Hand held - this image was taken with me looking slightly downwards, I was in close, she was a neighbour and didn't mind having her picture taken.

My Second Film Shoot

On my second black and white film shoot, I had 36 exposures, there had been a fire at the university, and I just happened to be around with my camera, I had a few exposures left so I used the last few on documenting the fire brigade and students who had been evacuated from the building outside in the gardens and surrounding areas, and a couple of around the university. It was a very bright winters, sunny day, I am also getting used to using the film camera, how it works and how the settings are.

There is also a couple of images taken at Thompson Park, in Burnley.

The images have been processed better than my first set of images, I was more aware now of how I loaded my film, and the processing of the film. Also the images are a lot clearer than my first attempt, some are slightly over exposed, which I could of rectified by changing the ISO to 100, the Aperture to approx. F11 /14 and my shutter speed to 1/80 - 1/125 , as my main starting point. the film in the camera was ISO 100

Image 1 - Students outside the university, after they had been evacuated from the building.

Image 2 - Students outside the university, after they had been evacuated from the building.

Image 3 - Students outside the university, after they had been evacuated from the building.

Image 4 - Students outside the university, after they had been evacuated from the building.

Image 5 - the fire engine outside the University building, it was a bright day.

Image 6 - The fire engine outside the University building, it was a bright sunny day. This image is over exposed.

Image 7 - The fire engines outside the University building.

Image 8 - Students outside the university, after they had been evacuated from the building.

Image 9 - The fire engine outside the University building, it was a bright day.

Image 10 - The fire engine outside the University building, it was a bright day.

Image 11 - Students outside the university, in the gardens, after they had been evacuated from the building.

Image12 - The fire engine outside the University building, it was a bright day.

Image 13 - The fire engine outside the University building, The 3 people on the left, were tutors, they did ask me what I was doing, and who I was, I explained I was a photography student from the University.

Image 14 - This is a poster or painting on the wall on our floor, in the University, I wanted to see how it would turn out if I took a picture of it.

Image 15 - This is another poster on the wall on our floor, in the University, I wanted to see how it would turn out if I took a picture of it.

Image 16 - This is a couple of students in the Studio looking for the perfect man....

Image 17 - This machine is in the grounds of the garden in the university, I would imagine this has had hundreds of images taken from a lot of different students, me included.

Image 18 - This is the same structure, from a different view point, this was a much brighter view spot and shows in the image taken.

Image 19 - This is a students motorbike in the university grounds. I like the look of this image, it has an old photograph feel to it, it looks like its very old.

Image 20 - This is the most crisp image I have taken with the film camera of this structure.

Thompson Park - Burnley

Image 1 - I liked the shadows of the trees in this image, I do think it could have been a little bit darker, by changing my Aperture settings slightly.

Image 2 - The boating lake at Thompson park, Burnley.

Image 3 - I like Trees, so I wanted to take a few images on my film camera. again I think this image would have been better a little bit darker.

Image 4 - I like how your eyes are drawn down the path in this image, the composition of the lake also enhances this image.

Image 5 - The boating lake, taken from a different angle, you cannot see it in this image but the reflection on the water was all different colours reflection of the metal fence around the lake. I love the eerie feel to this picture.

Image 6 - The café at the boating lake.

Image 7 - The seating area, at the side of the paddling pool. The angle which I have take this image from, makes it look like its slanted.

Image 8 - The railing which goes around the paddling pool. I like how the fence took your eyes to the bin, which appears to have a tree growing out of it, like a plant pot for trees.

Studio - People Portraits Practise

I have been practising people portraits, these images was taken in my office at work, with constant light coming from the main lights in the ceiling of the room. My camera was hand held, as I didn't have my tripod with me. These images are of an ex colleagues grand daughter Lylia.

Image 1 - ISO 1600 40mm F5.6 1/125 sec No Flash Manual. This image is just slightly out of focus, this is because my camera was hand held.

Image 2 - ISO 1000 40mm F5.6 1/125 sec No Flash Manual. I like the capture on this image, you can see the cheekiness in her eyes and the focal point is around the nose, eye area.

Image 3 - ISO 2000 40mm F5.6 1/125 sec No Flash Manual. I love the look of her face in this one.

Image 4 - ISO 2000 40mm F5.6 1/125 sec No Flash Manual. This was her real life "baby" which I feel is a bit scary.

These next 2 images are of her Nanna, Julie.

Image 5 - ISO 2000 40mm F5.6 1/125 sec No Flash Manual. The lighting was not very good in the office, that is why I had my ISO setting quite high.

Image 6 - ISO 2000 40mm F5.6 1/125 sec No Flash Manual. I have taken this image quite close to Julies face to try and capture her character and personality.

My Third Film Shoot

A couple of students went into Blackburn town centre for shooting images for their on their film cameras, I went along with them for some practice, here are my results.
My processing of film is getting better, the more I understand and feel more comfortable using the chemicals and equipment.

This is my contact sheet for the next set of images.

Image 1 - The old cinema, in Blackburn town centre.

Image 2 - Bruce Lee mural through a glass window in the town centre.

Image 3- The king reflections and murals

Image 4 - Looking through the glass windows.

Image 5 - Lil and Lils pub sign

Image 6 - Tree lump (man)

Image 7 - Busy as a bee, take a seat !!

Image 8 - Looking at you, looking at me - you've been framed..

Image 9 - Photographers reflection.

Image 10 - Jumping for joy !!

Image 11 - Levitating.

Image 12 - Glass bird !!

Image 13 - Santa's break

Image 14 - Brew time

Image 15 - flower reflection

Image 16 - reflective look

Image 17 - Yes sir !!

Image 18 - Toy solider.

Image 19 - Me and my shadow.

Image 20 - blurred.

Image 21 - Appliances.

Image 22 - In tune.

Image 23 - Really officer !!

Image 24 - Rails

Image 25 - University glass

Image 26 - Students

Image 27 - Ready...

Image 28 - Behind you..

Image 29 - In nature

Image 30 - Cubes.

Image 31 - Reflective waves !!!

Image 32 - Tree park reflection

Image 33 - Car park

Image 34 - Wall Flower...

Image 35 - who loves ya baby....

Ambient Lighting Practise - The Torso - Blackburn University

Today because the studio was very busy I decided to take some props and go into the students rest area. I used the natural light coming in through the large window behind me, and the ambient light from the room. I wanted to try out the gel sheets so I took a couple of images using different gel sheets.

There was no one within the studio who would do a naked shoot, so I had to make do with this torso.

Image 1 - ISO 6400 38mm F18 100 sec Manual - This was my starting image, it was too dark and is a bit grainy, and some of the frame is missing. I have changed this image to black and white as I wanted to see how the torso looked.

Image 2 - ISO 6400 38mm F18 100 sec Manual - I have cropped this image and cut some of the frame and torso out.

Image 3 - ISO 800 50mm 9F 1/60 sec Manual - I came in closer for this image and I have changed my settings, so the image is not as grainy.

Image 4 - ISO 1250 34mm F9 1/60 sec Manual - because I have come in even closer the image is slightly darker, but I think this adds more mystery, I've also changed my focal point to the scarf and not the torso.

Image 5 - ISO 1250 34mm F9 1/60 sec Manual - I've realised that you could still see the frame in Image 4, so I have took the picture again, and changed my composition.

Image 6 - ISO 1250 34mm F9 1/60 sec Manual - I changed the composition in this image but didn't realise that I had got the bottom of the frame in this time.

Image 7 - ISO 1250 34mm F9 1/60 sec Manual - I re took the image but again you can still just about see the bottom of the frame.

Image 8 - Image 6 - ISO 1250 30mm F9 1/60 sec Manual - The focus was aimed at the nipple area, but you can just see the frame at the top of the image.

Image 9 - ISO 1250 18mm F9 1/60 sec Manual - In this image I wanted to show most of the frame with a white background.

Image 10 - ISO 1250 50mm F13 1/50 sec Manual- I have come to realise that maybe I shouldn't be using the torso in a frame as I keep catching snippets of the frame in my image.

Image 11 - ISO 1000 18mm F13 1/50 sec Manual - In this image I decided to add a bottle/prop, as you can see the image is dull, there is not enough lighting to enhance the image, the composition is wrong, as you can see the frame at the top.

Image 12 - ISO 1000 18mm F13 1/50 sec Manual - I decided to see what adding a gel sheet would do to the image, as I have not really experimented with these enough as yet.

Image 13 - ISO 1000 18mm F13 1/50 sec Manual - This is a blue gel sheet covering the lens of the camera. I do like the gel sheets but again I feel this image is lacking in something, I know I didn't have the correct ISO, aperture and shutter speed to make this image better. I would next time use ISO 400 F8 or F5.6 with shutter speed at about 1/80 or 1/100 sec to start working from.

Image 14 - ISO 1000 18mm F13 1/50 sec Manual - I have change the composition in this image which I feel looks more pleasing to the eye, but would use the setting as described in image 13.

Image 15 - ISO 1000 18mm F13 1/50 sec Manual - This is the red gel sheet, that I used next.

Image 16 - ISO 1000 18mm F13 1/50 sec Manual This is the effect with the red gel sheet. the image is too dark and you can not see the picture clearly.

Image 17 - ISO 1000 18mm F13 1/50 sec Manual . again this image is too dark, and again if I was to set this up to shoot again I would start off with different camera settings, as described in image 13.

Self evaluation

I shot these images in the student canteen, I should have taken extra lighting in as when I used the gel sheets the ambient and natural lighting was not effective enough, or if I had set my cameras settings differently I would have had a different set of images. I have learnt that it takes considerable time to shoot images effectively, and that you have to be prepared to change your settings more frequently to gain the image you require. I have also learnt that I need to focus more in camera my back drop, and before I take my picture, check the image in the frame. I have noticed through this exercise that I think my lens is slightly out, as what I think I have does not show on the picture, I will check my central focus, or go to spec savers and get my eyes tested !!!.

Medium Brief Format

In the studio today Martyn showed us how to set up and use a Medium format camera.

The Mamiya RZ 67 - 120 mm . - You can submit an image taken on the Mamiya for your final studio brief, if you want to, you may get extra marks.

The size is bigger than the 35 mm negative, and the advantage is the film is not as grainy, more smooth, it produces a more refined and detail image, Macro almost.

It is best to use a camera stand as this is much more versatile and stable when moving the camera because it is more heavy and awkward to hold in the hand.

You need a Tripod lead (red Line) and the use of a light meter for the reading of the light quality you require.

You can see in this image the hot shoe for the light trigger. The back of the camera where you load the film.

Remember The image is back to front and you can lock it for focus. You need to change the spool always first

* Don't forget* and *do not change the spool when you have finished your film* don't think you are helping or doing the next person a favour as you could be putting the film on backwards and would waste your film as it will have been flooded. the black arrow lines up with the white arrow when you are winding the film on.

You take the metal sheet out when you are the film and this slots back in to the back until you have finished using the camera.

When you press the release button the image disappears, you then pull the lever to take the next picture, this re-cocks the shutter.

I have researched added a video from U Tube on how to load the film into the Mamiya RZ67

Studio Lighting Practise with Still life objects.

Today I have been practising still life photography with Natural light and a small torch, I wanted to experiment with this kind of lighting as it is something I practise at home quite a lot. I do like to use natural light, but it can sometimes need a boost of flash light, or an extra exposure to light.

These are my images that I have experimenting with everyday items I had on me.

Image 1 - camera settings - ISO 400 40mm F4.5 1/80 sec -no flash, manual - This is the padlock from my locker, I placed it on a wooden bench and with the small torch I was reflecting the light across the lock.

Image 2 - camera settings - ISO 250 40mm F4.5 1/80 sec no flash, manual - I was using the same principle with this image, I like the tones of Black & White, in this image I think it give it a better composition and contrast of the metal and the wood. a compare and contrast photograph.

Image 3 - camera settings - ISO 640 40mm F8 1/80 sec, no flash, manual. This was taken on a different surface, this was more shinny you get more reflection on a shinny surface, but you have to be aware of glare and flash back of the light showing on your picture.

Image 4 - camera settings - ISO 800 40mm F5.6 1/60 sec, strobe light manual. This was taken on my lap top as I wanted a black reflective surface.

Image 5 - camera settings - ISO 500 40mm F8 1/80 sec, no flash, manual. This is taken on my lap top which was turned off, as I wanted the black of the glass and the strobe light to reflect the light under the fork.

Camera set up was my Nikon D5300, hand held, with natural light and a strobe light.
I didn't take any images of my set up.

Self Evaluation

I like the composition in these images, I have hand held my camera, and was experimenting with lighting by using a small hand held torch, if I was to shoot these images again I would use a studio light, or may even experiment with coloured gels on a transparent surface.

This is one of the final images I am submitting for my studio module. ( I think)

Studio Portrait Shoot 7.

These next set of images are of a student in our class, I have paid for a make up artist to come in, and I wanted to achieve a glamour shoot, and also had a couple of ideas I wanted to experiment with. Earlier on in the course after going to the Manchester exhibition for Vogue 100 and buying the book Cyclops by Albert Watson I wanted to reproduce an image of Kate Moss, the Model, I Loved the imaged, I cannot really say why, but I do like the darker images, they appeal to me.

I also like the mask idea from the Movie and book Fifty Shades of Grey, it has some mystic about it. here are a few of my images.

Image 1 - ISO 100 50mm F14 1/200 sec Manual - This was one of the first images I took, it is slightly blurred and out of focus. I felt it was not as bright as I wanted it.

Image 2 - ISO 100 50mm F14 1/200 sec Manual I moved the light slightly forward in this image and asked the model to look directly at me. I do like the shadow on the right.

Image 3 - ISO 100 55mm F11 1/200 sec Manual This is one of the " Kate Moss " images I wanted to create, I had changed my aperture slightly on this image, as I wanted to let a little more light in as I had moved the camera.

Image 4 - ISO 100 50mm F14 1/200 sec Manual - In this image I moved the Aperture back to F14 as it was just a little too light for the image I was trying to achieve, and I wanted to capture the eyes.

Image 5 - ISO 100 78mm F14 1/200 sec Manual - I wanted to try something different in this images composition.

Image 6 - ISO 100 52mm F14 1/200 sec Manual - I thought the light was a little bright in this image, and a little bit to harsh, I added a roll of tissue paper to soften the light for a little more natural look.

Image 7 - ISO 100 70mm F11 1/200 sec Manual - I wanted to see what a different lens would achieve in this image I was using a 70mm - 300mm. I wanted to see how the depth of field changed, and how it would effect the models image.

Image 8 - ISO 100 85mm F14 1/200 sec Manual - I hadn't noticed in camera the yellow hair bobble, it is a reminder to ensure you check the image several time before you shoot.

Image 9 - ISO 100 70mm F11 1/200 sec Manual - I wanted to create a half shadow in this image, with half the face darker than the other, but you can see too much light on the right side, if I shot this again I would move the light slightly and have the model looking directly at the camera.

Image 10 - ISO 100 70mm F11 1/200 sec Manual - The light is too bright on the left side and I would have moved the camera slightly to avoid getting the top of the dress into the shot.

All images are un edited.

My Studio Equipment Set Up.

I researched lighting techniques online and I have a poster that I carry around in my bag of different lighting situations for portrait lighting, and the learning that I had learnt in classes and experimenting earlier on in the course, in the studio. The lighting technique called The Rembrandt short. Kit - 1 portalite softbox. With this style the principle of "Rembrandt" lighting is to create the triangle of light on the face, to achieve this you have to ask the model to position their head at an angle and light it from the left side, so the side of the face closer to the camera falls into shade.

Image 1 - This was my initial start off process, I had used a reflector board on the right of the model to "bounce" back some light back to the right side of the models face, as I didn't want this to be to dark and fall into shadow. I had her sat in a chair that I had covered with a off white blanket. I had the soft box on the left in front of the model and my camera was set centrally.

Image 2 - I decided that the light was a little bit harsh and I wanted to soften the light down a touch without moving the soft box , so I used this tissue reflective paper sheet. This softens the light to give the model a more softer, natural look.

Image 3 - I had found this shawl to use as a prop as I didn't want to copy the image completely by adding fish net tights to the image, however I did have a pair on me in case this shawl didn't look as I had wanted it to look. This is me behind the model preparing the shawl on how I wanted it to sit. I wanted it to cover the shoulder as well as the face.

Image 4 - I was constantly asking the model if she was in any discomfort and if she felt ok with me putting this shawl on her head. I think you have to build a rapour with your model to achieve a more natural and relaxed image.

Image 5 - I moved the soft box to sit in different positions, but it was always kept on the left side. I tried with the soft box directly on the side, which caused more shadow on the right, I tried the soft box slightly behind the model to see how the light would fall on her face. (this image is taken on my mobile and is a bit blurred)

Image 6 - When I took the shawl off the models head I decided to take some images which looked more natural, I arranged her hair so it was flowing down the side of her face, this gives her a more glamour look. I asked her to swing and position her body slightly to the right, but to look directly into the camera.

Image 7 - I wanted to gain a little bit of height as I am not the tallest person, so I used this table as a prop for me to photograph the model from a different angle.
Self Evaluation

By exploring how other photographers work and the techniques used to produce their work it has expelled me to open my mind to other forms, mediums, art work, artists, photographers, to see how much I can push myself, to be able to see what I can be capable of achieving. By understanding what is available in this competitive market and most importantly exploring and experimenting beyond my boundaries and to put me out of my comfort zone. Overall I feel this is my best studio shoot so far, I have learnt a lot over the months since starting on the course. I know I still have a lot to learn, and I am looking at buying a home studio lighting kit, so I can practise and experiment more. I know I have to spend more time in the studio.

This is one of the final images I am submitting for my studio module.

I chose this image because this is the contrast, and shape I had set my mind on to create. I wanted to have a half darkened side with half a light side of the face.

Studio Portrait Shoot 8

I have been into the studio today to shoot my full length portraits. My research over the last few months of the course have inspired me to re-create a couple of different styles of shoots, with different lighting techniques and equipment. I was also captivated by the photograph in the Manchester vogue 100 exhibition with Alfred Hitchcock sat down on a wooden block taken by the renowned photographer Irving Penn.

Alfred Hitchcock by Irving Penn, shown at the Manchester art gallery In 2016 as part of the Vogue 100 celebration

These next set of images are of my interposition or recreation of this image. I asked one of my fellow students to sit for me.

Image 1 - ISO 100 40mm F7.1 1/60 sec Manual As you can see the image is quite dark, for some reason the flash did not trigger in this image, I had to check the lights to ensure that the wire was still in the light.

Image 2- ISO 100 70mm F11 1/200 sec Manual This image is too bright, I know that I had to change my aperture setting to a larger number which is a smaller aperture to let less light into the camera. Also I realised that even when you are interacting with your model they can still be un predictable and move just as you are taking the shot.

Image 3 - ISO 100 40mm F11 1/60 sec Manual In this image after I have changed the aperture I was more comfortable with the lighting effect that I was trying to achieve. However the model blinked in this image.

Image 4 - ISO 100 40mm F13 1/125 sec Manual - I changed the aperture to 13 in this image as I felt I was still not getting the right light into the camera.

Image 5 - ISO 100 40mm F7.1 1/60sec - Manual - I have edited this imaged to make it look a little bit like an aged photograph for effect of an older looking image.

My studio Equipment

Image 1 - my studio set up for this shot was to use 2 soft boxes, 1 with flash and 1 with a continuous light source. with the model sat central and my camera set central. The model is smiling for this image !!!

Self Evaluation

In this shoot I had decided roughly how I wanted the final image to look like, I had wanted a similar composition on the Irving Penn image, but with a modern model style of today. if I was to shoot this image again I would ensure that I conversed with the model more and that I would take my shot when we was both at ease and ready. I would have a different lighting set up to illuminate him a little bit more on the right side for a brighter image. unless that was a desired light I required for a specific shoot. If I had more time and access to different props, I would like to dress the surroundings to give it a little bit more ambiance.

This is one of the final images I am submitting for my studio module.

I choose this image because I like the composition and the use of space. The models character shows through and the image is a good ideal from the image I was trying to recreate from the Irving Penn photograph. If I had more time on this image I would add another light to light up the facial area a little more.

Storing and Transferring Images
From camera to files.

I have learnt over the course of the year different ways to transfer and store/backup my images that I have taken on my camera.
I shoot in raw. The best way that works for me is to insert my SD card, from my camera in to my PC, I then create a folder on my external hard drive where I transfer my images to this folder.
In this folder I then create an edits folder. I up load my images to light room to edit.
When I have edited the images I transfer them back to the edit folder, they then are transferred back as a J.Peg image. I do keep some images on my PC, which are the ones I need for work at University.
I have a back up copy on my external hard drive.
I have created 3 folders for university, year 1, year 2 and year 3.

at the beginning of the year I had all my files up loaded to light room and realised that I would struggle to find my images, they was all mixed up and scattered around. This new way of working enables me to find my images quicker. also it provides a back up if my laptop broke, or I damaged my lap top.
I have thought about The Cloud, this is where you can access and store your images, virtually from any device, this is something I'm going to be looking into.

Studio Portrait - shoot 9

Movement

In this next studio shoot I asked a 3rd year design student whom I had seen around the university and had spoken to briefly in the lift as I had like the colour of her hair if she would at some point do a sitting for me. I had also observed Martyn the tutor photograph her game designed by her if she would again sit for me.

when I was a little bit into my shoot Martyn came into the studio and asked me why I was using a continuous light, I said I knew but I couldn't answer as I felt my answer sounded daft, however when he explained to me that a continuous light is there to light up the subject or model so you can see what the lighting pattern will look like or at least give you an idea how the final image will turn out. He also told me to slow down my shutter speed and get the model to move around and see what would happen with movement in an image. here are the results.

Image 1 - ISO 100 40mm F713 1/125sec Manual This was before Martyn came and asked me about the light, I do feel this is a bit flat and dull.

Image 2 - ISO 100 40mm F13 1/30sec Manual after changing the shutter speed and turning off the flash light as it was on continuous you can see that image 2 has a bit more colour and clarity.

Image 3 - ISO 100 40mm F13 1/4 sec Manual as you can see how the light has been affected by turning the shutter speed to a slower setting.

Image 4 - ISO 100 40mm F13 1/4 sec manual - In this image we tried some movement to see how the image would look, and because the shutter speed was on a slow setting it has picked up her movements on her arms but because her lower body was still that looks clear and crisper.

Image 5 - ISO 100 40mm F13 1/4 sec manual - I decided I wanted to explore this further and decided to have some fun with movement. I fetched my laptop in the studio and put on some music.

Image 6 - ISO 100 40mm F13 1/10 sec manual - We added some props and she was jumping around, I had changed the shutter speed slightly again as I want to see how the movement was when she was jumping.

These next images I have edited in light room

Image 7 - ISO 100 40mm F13 1/30 sec manual - I wanted her to use this stand but I wanted her to show me how she wanted to use it, as I felt she was having fun and I wanted her to have some input in the shoot as well. I have speeded the shutter speed slightly now to 1/30 sec as I didn't want as much movement in these images.

Image 8 - ISO 100 40mm F13 1/30 sec manual - I like how her hair has fallen in this image, i did think that this might have been a health and safety issue if she had fully stood on the cube, so I stopped her doing this, and took a shot.

Image 9 - ISO 100 40mm F13 1/30 sec manual - I asked her how many posed she could manage to do on a cube, this was one she tried to do. I would have possibly added another light to light up the dark shadows in this image to the right hand side, But I do like the shadow of her leg against the cube.

Image 10 - ISO 100 40mm F13 1/30 sec manual - I moved the camera slightly when I took this shot, and it is slightly out of focus.

Self Evaluation

This shoot taught me a couple of things, I realised I had forgotten the basics of ambient, flash and continuous light and what effects slowing the shutter speed down had on an image, so I am grateful for Martyn's professional input on coming into the studio to ask me the questions when he did. I also realised that it is sometimes about having fun with your work, I had become so worried that I was not doing things as well as other students, or to worried about the final outcome, that I had forgot to make it fun, if something is fun we can learn more because we are more relaxed, more astute to the model and our surrounds, and we put more energy into producing a really good piece of work and also by having fun we are more open to experimenting with different subjects.

I did go online and refresh my memory on lighting effects.

Ambient lighting

Light that comes from all directions. Contrast with "directional lighting," which is made up of a light source with parallel light rays that do not diminish with distance. Also, contrast with "positional lighting," in which the rays are not parallel, but diminish in intensity from the source.

I also look at a couple of websites about direct and indirect lighting, here is a link to one of the websites.

http://www.digital-photo-secrets.com/tip/2099/direct-and-indirect-light/

There are two types of light in this world; direct light and indirect light. Each of them serves a unique purpose in photography, and each has its advantages and disadvantages. Direct light is straight on, sometimes harsh and sometimes warm and colourful. For example, without direct light, the image to the right wouldn't be nearly as colourful. Indirect light comes from all sides and completely illuminates your subject.

http://www.falconeyes.eu/introduction-to-studio-photography/

This is another website I explored to refresh my memory on lighting effects.

This is one of the final images I am submitting for my studio module.

Natural light Portrait - Strobe light

I was sat in the class room and the sun was coming in through the window, a fellow student was sat there and I asked if I could take his photograph as the light was falling onto his back and was casting a really good shadow. these next few images are of him in the class room with natural light.

Image 1 -ISO 160 31 mm F5 1/160 sec - manual - This was one of the first images I took, the bottom half of the picture is quite dark and Oliver's face is dark also, but I liked the light falling on his back and shoulders.

Image 2 -ISO 160 31 mm F5 1/160 sec - manual - Flash - I thought I would see how the image would have changed by using flash to brighten the image. You can see more detail, but I still like the first image of the shadows.

Image 3 -ISO 160 26 mm F5 1/160 sec - manual - because I liked the shadows I asked Oliver to change how he was sitting so I could have the light falling onto his back and have the rest of him in shade. I love the composition in this image.

Image 4 -ISO 160 26 mm F4 1/200 sec - manual - flash - This image is too dark and would have looked a lot brighter if I had used a reflector or a soft box.

My Studio equipment was just my camera, that was handheld, with natural light from the university window. it was an unplanned shoot, I happened to have my camera on me, and asked if I could take a few images of Oliver. If I was too shoot this image again I would add another form of light, and take Oliver into the studio, i.e. a softbox which would light up more of Oliver's head with softer lighting.

Studio Practise at Home.

I do like to take lots of photographs, of different objects/subjects and things that are around my house, I went out and bought a couple of masks, these I thought would be good for self portraits to carry on with my personal project I've named RAW. these images I've named as MASK. I believe, we as humans at some point have to wear different masks, there are lots of reasons for this, job, social, family life and many more. When I started the RAW project it was about breaking free from being held back, just about being. The Mask project is that we hide behind these masks, to hide our true self, but the pain or truth is still there in our eyes. I also feel that today our society has become a plastic nation, a false truth, we have to be flow less, perfect, all the same, we are losing our own personalities and true form.

the next set of images are from MASK, they start off being half covered masks to full covered masks.

Image 1 - ISO 500 F4 1/60 sec 40mm - natural light - no flash. I have focused more on the mask in this image, so my eye is slightly out of focus.

Image 2 - ISO 500 F3 1/60 sec 40mm manual - no flash, ambient light source.

Image 3 -ISO 500 F3 1/60 sec 40mm manual - ambient light. My camera is hand held.

Image 4 -ISO 500 F3 1/60 sec 40mm manual- These images are shot using natural light. camera was on a tripod.

Image 5 -ISO 500 F3 1/60 sec 40mm manual - natural light. I was just moving myself around the camera, taking pictures from different positions for a different composition.

Image 6 -ISO 500 F3 1/60 sec 40mm manual

Image 7 -ISO 500 F3 1/60 sec 40mm manual - flash used in this image for comparison effect.

Image 8 -ISO 500 F3 1/60 sec 40mm manual - flash/strobe used in this image.

Image 9 -ISO 500 F3 1/60 sec 40mm manual

Image 10 - ISO 500 F3 1/60 sec 40mm manual - the main focus in this image is the "perfect" nose

Image 11 - ISO 500 F3 1/60 sec 40mm manual - I have added a red wig in this image, but because it is in B&W I have added a colour image for comparison.

Image 12 - ISO 500 F3 1/60 sec 40mm manual - This image I have kept in colour for comparison

Image 13 - ISO 500 F3 1/60 sec 40mm manual - I feel this image is all about the intensity of the eyes.

Image 14 - ISO 500 F3 1/60 sec 40mm manual - The person behind the mask.

Food photography project - the Clog and Billycock menu

I have had the privilege of working with a fellow 3rd student Karen, she has been doing some photo shoots for the public house the Clog and Billycock, they have a new menu and wanted some new food images. They have requisitioned a couple of 1st students to assist in helping and using our images for there website and menu.

Here are a few of my images that I took on my own camera, the rest was taken on the universities cameras which where full frame, canon cameras.

These are my images taken on my Nikon D5300.

Image 1 - ISO 400 F6.3 1/160 sec 40mm - These were practise shots to see what the setting would produce, and to see how the lighting would be in the final images.

Image 2 - ISO 100 F2.8 1/40 sec 40mm - This image is quite dark, but I love the reflections in the glasses in this picture.

Image 3 - ISO 100 F2.8 1/40 sec 40mm - I liked the composition of this image, I liked the fact you could see the light behind the items on the table.

Image 4 - ISO 100 F4 1/125 sec 40mm - I wanted to see the reflections of the condiments on the table in this picture. again these was practise shoots while we waiting for the food to arrive.

Image 5 - ISO 400 F7.1 1/160 sec 40mm - I was worried about cutting objects out of the image, I knew it was about getting the food into the picture, but didn't realise it really didn't matter about the accessories.

Image 6 - ISO 400 F6.3 1/160 sec 40mm - I didn't have a tripod which would have been a great benefit to taking these images, as I would have been able to get a better quality image.

I found this day to be fun, exciting, boring and quite a long day, it was brilliant, a real mixed bag. it has opened my eyes to how much work does go into taking images for a client, how to get the right composition of the food, as this is the main purpose of the shoot, and the one that the client is paying for, their product. I have learnt a lot from this experience and from the experience of Martyn and Karen.
Thank you.

While I was waiting for the food to arrive I went and documented the progress of the workmen which I have passed on to the owner.

here is a few examples.

Image 1 - the staff discussing menus.

Image 2 - The workmen fixing the panels behind the bar.

Image 3 - one of the managers, hard at work.

Image 4 - another member of the crew busy in her work.

Image 5 - cleaners

Image 6 - row of vinegar bottles.

Image 7 - cosy dinning.

Image 8 - Table 50

Image 9 - Cole and mason.

Image 10 - Shutter light

Image 11 - Clog and Billycock reflections.

Image 12 - Light feet.

Land Rover Magazine Publication

One of mine and my partners hobbies is off roading in our trialer. We are part of the Pennine landrover club, where we go out every month to a different location, where we have a series of trials.
The aim is to get through the 12 sections set out. The sections have a series of gates, (canes) the aim is to start at gate 12 and get through all of the gates to score a zero, and not to hit any of the canes (gates) if you do hit a canes you acquire the points of that said gate.
I often take pictures of the events ranging from the trial to spectators. I have been approached by the Editor of the Landrover magazine, as they are doing a spread with our club leader. I sent in several images and they have published 2 of my images in the April issues.

below is a copy of the images in the land rover magazine.

Image 1 - this was the main image in the magazine story. What you don't know in this picture is that the 2 guys had just rolled the motor over and this was taken just as the other guys had turned them back over. But I could not show these images, due to health and safety

Image 2 - My image is the bottom left, with the motor back to the camera.

I am really please that these 2 images have been picked and published for the landrover magazine. I have not received any money for this, and they didn't recognise the photographer in these kinds of stories, which is a bit of a disappointment. This is something to be aware of in further submissions.

Studio lighting Practice at Home

I have bought a set of studio lights for home, this will enable me to practise and experiment with my lighting techniques at home. I spoke with Martyn, my tutor and he recommended I experiment with a prism or crystal.

I set up a prism in my little desk top studio and played about with different lighting here is a sample of my results.

Image 1 - ISO 800 40mm F14 1sec - I used one studio light no reflector, I was experimenting with the lights and settings as they are new and different from what I normally use.

Image 2 - ISO 800 40mm F22 1sec - This image I used the studio light, but also had a hand held LED light, which when I passed it over the prism it has captured some light on the glass.

Image 3 - ISO 320 40mm F20 5sec - By moving the light around you can pick up different colours in the prism.

Image 4 - ISO 320 40mm F20 5sec - I had moved the studio light a little bit further away in this image and lowered it slightly to see how the shadows would fall. as you can see the light is still too high as there is no shadow on the surface.

Image 5 - ISO 320 40mm F20 5sec - I have edited this image to black and white as I wanted to see the shadows and see how the prism looked in B&W. As you can see I would next time clean the glass as you can see my finger prints, this is something to be aware of when handling glass before you photograph the object.

Lighting Equipment

I have bought a set of studio lighting kit, for experimenting and practicing at home.

For the prism shoot I used one studio light, with a wireless flash trigger, no snood, I also used a hand held strobe or Led light.

This is one of my studio lights, with my box studio set up at home.

I have been back to this shoot and added water to cascade over the prism. I have not had as much time as I have wanted to spend on these shoots as much as I want to. however I am planning on spending more time using different objects. I want to learn as much as I can.

Time can sometimes be a factor when shooting or if your on a location, it is good practise to learn as much as you can, and by going out and practising as much as you can.

* remember the more you do the more you learn.

UCBC Year 1 - Photography media

Pages

Studio

Pinhole Camera

Louis Daguerre

Negative to Positive Process

Tintypes

Wet Plate Negatives

Flexible Roll Film

Colour Photographs

Advancements in Photographic Films & Photographic Prints

Photographic Films

Photographic Prints

Advancement of the Camera

Daguerreotype Cameras

Box Camera

Flashlight Powder

Flashbulbs

Filters - Frederick Charles Luther Wratten (1840-1926)

35mm Cameras

Polaroid or Instant Photos

Disposable Camera

Digital Camera

A DX-format normal Micro lens for easy, full-fledged close-up shooting

AF-S DX Micro NIKKOR 40mm f/2.8G Primary Features

AF-S DX Micro NIKKOR 40mm f/2.8G Primary Specifications

Ambient lighting

No comments:

Post a Comment