For this project, I was aiming to do various shoots spanning across several different genres of photography that require studio lighting. For the product shoot I chose to photograph samosas and organic bread.
I was also going to do a locational fashion shoot of standard and unusual portraits eg the feet shot whiuch is intended to convey a story rather than just product alone, as in this case the shoes have body language presented with them to fill in the story line behind the individual’s wearing of them.For my portrait shoot, I was going to do a locational shoot of a carpenter and his workshop (being very careful to represent him in a masculine and dominant way in his environment). Another shoot I envisaged is the ports photography one for which I chose to do skateboard photography.
In preparation for my shoots, I was going to allocate slot times eg. One week for each shoot to allow time to arrange props, lighting and equipment. I found the equipment hiring quite simple and easy as I pre-booked my equipment well in advance. I made sure, before I left the college, that I had all the sinc leads and that the equipment was fully functional. For one of my skateboarding shoots at “The Works” the sinc lead did not respond and therefore I had to work out how I was going to solve this problem. Also, for Tom’s shoot, we had the same problems as the sinc lead did not respond. Therefore, we had to construct a way, by using the wireless transmitter at the same frequency channel of the Ellamcrom internal slaves instead of using the sinc lead directly to the camera. Another problem I faced with the equipment was with one of the D30 cameras I got out. The colour calibration of the raw format file had been changed and therefore, when I got to the editing stage process, I had to adapt the editing around the colours that it had recorded. However, this was not so much of a problem for my raw files as it takes in more information on white balance than a normal J peg does. In all, for time management, I felt that I had done very well to do all three shoots in such a short space of time.
Technical Problems and issues surrounding some of my shoots
For my skateboarding shoot, I experienced the most difficulties as I was using a medium format Mamiya RB 67 for which medium format skateboarding photography is mostly done on due to the high sinc speed. The major problem I faced was that the wireless trigger sets did not respond due to the high shutter speed at 400th of a second. Therefore, on one shoot, I only achieved 2 out of 10 on the reel. However, on the plus side, I did do digital shoots as I was able to do test shoots to make sure that the wireless triggers were sinking.
Evaluation.
For this project, I was aiming to do various shoots spanning across several different genres of photography that require studio lighting. For the product shoot I chose to photograph samosas and organic bread.
I was also going to do a locational fashion shoot of standard and unusual portraits eg the feet shot whiuch is intended to convey a story rather than just product alone, as in this case the shoes have body language presented with them to fill in the story line behind the individual’s wearing of them.For my portrait shoot, I was going to do a locational shoot of a carpenter and his workshop (being very careful to represent him in a masculine and dominant way in his environment). Another shoot I envisaged is the ports photography one for which I chose to do skateboard photography.
In preparation for vmy shoots, I was going to allocate slot times eg. One week for each shoot to allow time to arrange props, lighting and equipment. I found the equipment hiring quite simple and easy as I pre-booked my equipment well in advance. I made sure, before I left the college, that I had all the sinc leads and that the equipment was fully functional. For one of my skateboarding shoots at “The Works” the sinc lead did not respond and therefore I had to work out how I was going to solve this problem. Also, for Tom’s shoot, we had the same problems as the sinc lead did not respond. Therefore, we had to construct a way, by using the wireless transmitter at the same frequency channel of the Ellamcrom internal slaves instead of using the sinc lead directly to the camera. Another problem I faced with the equipment was with one of the D30 cameras I got out. The colour calibration of the raw format file had been changed and therefore, when I got to the editing stage process, I had to adapt the editing around the colours that it had recorded. However, this was not so much of a problem for my raw files as it takes in more information on white balance than a normal J peg does. In all, for time management, I felt that I had done very well to do all three shoots in such a short space of time.
For example, for the samosa shoot I had to think very carefully regarding which props and ornaments I should use to go with the set up so there would be cross cultural reference. I wanted it to appear as if it was a traditional meal. In the collection of my props, I had to go to an Indian wholesaler whose business provided crockery and ornaments for local Indian restaurants.I had to get the fabrics just right and so, for the Indian-style scene, I chose to use traditional orange and blue sequinned fabrics. I even located a genuine Indian elephant wooden statue. Most of the time for the shoot was taken up on setting up the scene and arranging the food in an appetizing manner as this was essential for the success of the shoot. For my carpenter shoot, I had to find a suitable location to portray the right environment and I had to gather up costumes and equipment to go with the scene in order to present a realistic view of the character in his workplace. Overall, I felt the location and the props worked in collaboration with each other to create a true living environment where the audience could use their own inferences to draw conclusions regarding the storyline behind each of the photos. For each of my shoots, I thought very precisely beforehand regardingf the conceptual ideas and approaches and how I was going to represent my subjects within the frame. Studio light specifically can emphasize mood and connotations of iconography.This was especially important in my carpenter shoot as I wanted to put across to the audience the connotations of dominance, strength and masculinity. Also, in the use of lighting I wanted to indicate the subject's God-like status and create biblical references by using lighting to produce a halo effect as Jesus himself was a carpenter by trade. I looked into various other photographers who shot workers in their workplaces - for example David Bailey's "Havana" book and Walker Evans work on the FSA , especially "The Sharecropper." These works by these two famous photographers gave me inspiration on how to compose the shots I attempted. I wanted my shoots to be both aesthetically pleasing and also conceptually relevant. I also appled this technique to my fashion shoot as I wanted it to be eyecatching and also meaningful and instructive. I tried to recreate a story behind my images and gave detailed representations of the characters in order to make them come alive for the audience. The aims and goals that I set out for my photographs are not just attractive but they also do reprtesent several whole lifestyles with implicit storylines.I am very happy regarding the outcomes of the final images due to the way in which they were lit. Also, I learnt a great deal regarding how light reacts to a photograph whether it is on digital or film and learnt still more technical ways to achieve problem-solving devices.I feel that I had worked collaboratively with my group and found this very useful to solve problems faster and more efficiently. I did not just focus on one area of photography. concentrated on various different aspects of photography - for example fashion, portrait, product and sports photography and I learnt how various different types of lighting set ups help to emphasize and promote meaning amnd understanding foir the audience.
bibliography
the world's top Photographers
and the stories behind their greatest Images
Portraits
by Fergus Greer
Cruel and Tender
the real in the twentieth-century Photograph
Edited by emma Deter
Bill brandt
Photographs 1928-1983
Edited by Ian jeffrey
I was also going to do a locational fashion shoot of standard and unusual portraits eg the feet shot whiuch is intended to convey a story rather than just product alone, as in this case the shoes have body language presented with them to fill in the story line behind the individual’s wearing of them.For my portrait shoot, I was going to do a locational shoot of a carpenter and his workshop (being very careful to represent him in a masculine and dominant way in his environment). Another shoot I envisaged is the ports photography one for which I chose to do skateboard photography.
In preparation for my shoots, I was going to allocate slot times eg. One week for each shoot to allow time to arrange props, lighting and equipment. I found the equipment hiring quite simple and easy as I pre-booked my equipment well in advance. I made sure, before I left the college, that I had all the sinc leads and that the equipment was fully functional. For one of my skateboarding shoots at “The Works” the sinc lead did not respond and therefore I had to work out how I was going to solve this problem. Also, for Tom’s shoot, we had the same problems as the sinc lead did not respond. Therefore, we had to construct a way, by using the wireless transmitter at the same frequency channel of the Ellamcrom internal slaves instead of using the sinc lead directly to the camera. Another problem I faced with the equipment was with one of the D30 cameras I got out. The colour calibration of the raw format file had been changed and therefore, when I got to the editing stage process, I had to adapt the editing around the colours that it had recorded. However, this was not so much of a problem for my raw files as it takes in more information on white balance than a normal J peg does. In all, for time management, I felt that I had done very well to do all three shoots in such a short space of time.
Technical Problems and issues surrounding some of my shoots
For my skateboarding shoot, I experienced the most difficulties as I was using a medium format Mamiya RB 67 for which medium format skateboarding photography is mostly done on due to the high sinc speed. The major problem I faced was that the wireless trigger sets did not respond due to the high shutter speed at 400th of a second. Therefore, on one shoot, I only achieved 2 out of 10 on the reel. However, on the plus side, I did do digital shoots as I was able to do test shoots to make sure that the wireless triggers were sinking.
Evaluation.
For this project, I was aiming to do various shoots spanning across several different genres of photography that require studio lighting. For the product shoot I chose to photograph samosas and organic bread.
I was also going to do a locational fashion shoot of standard and unusual portraits eg the feet shot whiuch is intended to convey a story rather than just product alone, as in this case the shoes have body language presented with them to fill in the story line behind the individual’s wearing of them.For my portrait shoot, I was going to do a locational shoot of a carpenter and his workshop (being very careful to represent him in a masculine and dominant way in his environment). Another shoot I envisaged is the ports photography one for which I chose to do skateboard photography.
In preparation for vmy shoots, I was going to allocate slot times eg. One week for each shoot to allow time to arrange props, lighting and equipment. I found the equipment hiring quite simple and easy as I pre-booked my equipment well in advance. I made sure, before I left the college, that I had all the sinc leads and that the equipment was fully functional. For one of my skateboarding shoots at “The Works” the sinc lead did not respond and therefore I had to work out how I was going to solve this problem. Also, for Tom’s shoot, we had the same problems as the sinc lead did not respond. Therefore, we had to construct a way, by using the wireless transmitter at the same frequency channel of the Ellamcrom internal slaves instead of using the sinc lead directly to the camera. Another problem I faced with the equipment was with one of the D30 cameras I got out. The colour calibration of the raw format file had been changed and therefore, when I got to the editing stage process, I had to adapt the editing around the colours that it had recorded. However, this was not so much of a problem for my raw files as it takes in more information on white balance than a normal J peg does. In all, for time management, I felt that I had done very well to do all three shoots in such a short space of time.
For example, for the samosa shoot I had to think very carefully regarding which props and ornaments I should use to go with the set up so there would be cross cultural reference. I wanted it to appear as if it was a traditional meal. In the collection of my props, I had to go to an Indian wholesaler whose business provided crockery and ornaments for local Indian restaurants.I had to get the fabrics just right and so, for the Indian-style scene, I chose to use traditional orange and blue sequinned fabrics. I even located a genuine Indian elephant wooden statue. Most of the time for the shoot was taken up on setting up the scene and arranging the food in an appetizing manner as this was essential for the success of the shoot. For my carpenter shoot, I had to find a suitable location to portray the right environment and I had to gather up costumes and equipment to go with the scene in order to present a realistic view of the character in his workplace. Overall, I felt the location and the props worked in collaboration with each other to create a true living environment where the audience could use their own inferences to draw conclusions regarding the storyline behind each of the photos. For each of my shoots, I thought very precisely beforehand regardingf the conceptual ideas and approaches and how I was going to represent my subjects within the frame. Studio light specifically can emphasize mood and connotations of iconography.This was especially important in my carpenter shoot as I wanted to put across to the audience the connotations of dominance, strength and masculinity. Also, in the use of lighting I wanted to indicate the subject's God-like status and create biblical references by using lighting to produce a halo effect as Jesus himself was a carpenter by trade. I looked into various other photographers who shot workers in their workplaces - for example David Bailey's "Havana" book and Walker Evans work on the FSA , especially "The Sharecropper." These works by these two famous photographers gave me inspiration on how to compose the shots I attempted. I wanted my shoots to be both aesthetically pleasing and also conceptually relevant. I also appled this technique to my fashion shoot as I wanted it to be eyecatching and also meaningful and instructive. I tried to recreate a story behind my images and gave detailed representations of the characters in order to make them come alive for the audience. The aims and goals that I set out for my photographs are not just attractive but they also do reprtesent several whole lifestyles with implicit storylines.I am very happy regarding the outcomes of the final images due to the way in which they were lit. Also, I learnt a great deal regarding how light reacts to a photograph whether it is on digital or film and learnt still more technical ways to achieve problem-solving devices.I feel that I had worked collaboratively with my group and found this very useful to solve problems faster and more efficiently. I did not just focus on one area of photography. concentrated on various different aspects of photography - for example fashion, portrait, product and sports photography and I learnt how various different types of lighting set ups help to emphasize and promote meaning amnd understanding foir the audience.
bibliography
the world's top Photographers
and the stories behind their greatest Images
Portraits
by Fergus Greer
Cruel and Tender
the real in the twentieth-century Photograph
Edited by emma Deter
Bill brandt
Photographs 1928-1983
Edited by Ian jeffrey
Final Images
The Group Flyer
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