Showing posts with label Research. Show all posts
Showing posts with label Research. Show all posts
Wednesday, 2 December 2015
Beaton Portraits Terence Pepper Roy Strong Peter Conrad National Portrait Gallery, London.
I used the book "Beaton Portraits" as a source when looking at inspiring poses and imagery for the perfect base project. I initially took this book from the library as In a practical session Chris had mentioned the practitioner and I had studied this photographers work before. In response to some online research I had done on the photographer, I decided to look in the library and see if there were any books that discussed Beaton's works and showed images of his late works they you couldn't find online.
Using this book was very helpful and I felt inspired by the portraits he captured of stars such as 'Zita and Theresa Jungman, 1927'. and also 'Sylvia Sidney, Hollywood, 1932'. I also find this book inspiring as many of the images in this book consist of black and white imagery similar to the perfect base projects. Alongside seeing this black and white images and also learning fro Chris in lessons I feel that I have a better understanding of how contrast, lighting and white balance is very important in all images, especially black and white ones.
Plate 25 Slyvia Sidney, Hollywood, 1932.
Plate 7 Zita and Theresa Jungman,1927.
Plate 3 Nancy Beaton as a Shooting Star,1929.
Tuesday, 17 November 2015
The perfect base final plan and chosen moods.
My plan for my perfect base photoshoots are to create two looks on my models; one will feature nude, neutral minimal make-up and the other will be simple gold eyes, minimal base and red lips. I have chosen the colour red for my models lips in the colour photograph as I have always felt it is a colour that turns a look from simple to bold even when combined with the most minimal make-up and the gold eyes I have chosen will compliment the red lips as they are both very rich colours.
For my neutral make-up I plan to use a clean base, no shadow, minimal mascara and some product in the brows only.
I have asked both my models to wear black tops for my shoot as it is a plain colour and won't compete with the makeup and hair. I have booked a studio in the upstair photography studios, where I plan to use a soft box and silver reflector to create my photographs.
For my neutral make-up I plan to use a clean base, no shadow, minimal mascara and some product in the brows only.
I have asked both my models to wear black tops for my shoot as it is a plain colour and won't compete with the makeup and hair. I have booked a studio in the upstair photography studios, where I plan to use a soft box and silver reflector to create my photographs.
Saturday, 7 November 2015
Digital Image Production - Mood Photography
Recently in our weekly practical lesson in the photography studio with Chris, we discussed and practiced how to create 'Mood photography'. In the studio I got the chance to observe window lighting and also a similar artificial lighting created by white light reflecting boards and and flash lighting.
We began by shooting with a high key bright background. and placed light boards in front of this background so that the lighting could bounce against each other making the bright lighting travel and then hit the model we were shooting. This lighting set up creates a really soft effect to the image that your capturing.
Methods;
-Create normal set up with camera, station and flash cables
-Turn lights up to full power and face onto the wall(background)
- Need two flash heads (flash heads have sensitive sensors so when two are plugged in they will work in conjunction working alongside each other)
-Normal 1/160 Camera Settings
You want to direct your model to stand in front of light reflecting boards where the light is being collected, whilst you are photographing your models behind the light boards.
Here is a basic example of the set up and positioning of the model;
If you take a photograph and it is overexposed making your model look washed out, you can adjust the flash heads for less extreme bright light. The 85ml Lense is the best lense to use for portraiture/close face shots, so this is the lense we used when experimenting. White balance is changing the colour of white on camera/photograph, this prevents you getting a colour cast. the best white balance to use on camera is the daylight icon on the camera which looks like a sun symbol.
When shooting our model with daylighting we created the same set up minus the lights and flash heads. We moved our camera model and computer into the daylight studio creating the same set up with light boards, but this time placing our model with their back to the window and lights boards in front of them this time so that you are capturing them through the gap of the boards. We slowed down the shutter speed and ISO which ended created a brighter light on the image. The effect made with this method of lighting creates a softer mood to the image. After we went through the different types of lighting and observing the moods that each image held from the methods, I enjoyed the effect that window lighting made more, it created such a soft and flattering lighting that made the model look relaxed, glowy and more moody.
Here are some images taken by Chris which best describe the two types of lighting we played with;
We began by shooting with a high key bright background. and placed light boards in front of this background so that the lighting could bounce against each other making the bright lighting travel and then hit the model we were shooting. This lighting set up creates a really soft effect to the image that your capturing.
Methods;
-Create normal set up with camera, station and flash cables
-Turn lights up to full power and face onto the wall(background)
- Need two flash heads (flash heads have sensitive sensors so when two are plugged in they will work in conjunction working alongside each other)
-Normal 1/160 Camera Settings
You want to direct your model to stand in front of light reflecting boards where the light is being collected, whilst you are photographing your models behind the light boards.
Here is a basic example of the set up and positioning of the model;
If you take a photograph and it is overexposed making your model look washed out, you can adjust the flash heads for less extreme bright light. The 85ml Lense is the best lense to use for portraiture/close face shots, so this is the lense we used when experimenting. White balance is changing the colour of white on camera/photograph, this prevents you getting a colour cast. the best white balance to use on camera is the daylight icon on the camera which looks like a sun symbol.
When shooting our model with daylighting we created the same set up minus the lights and flash heads. We moved our camera model and computer into the daylight studio creating the same set up with light boards, but this time placing our model with their back to the window and lights boards in front of them this time so that you are capturing them through the gap of the boards. We slowed down the shutter speed and ISO which ended created a brighter light on the image. The effect made with this method of lighting creates a softer mood to the image. After we went through the different types of lighting and observing the moods that each image held from the methods, I enjoyed the effect that window lighting made more, it created such a soft and flattering lighting that made the model look relaxed, glowy and more moody.
Here are some images taken by Chris which best describe the two types of lighting we played with;
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| Left image created with flash heads Right Image created with window lighting |
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| Lighting created with flash heads. |
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| Window lighting brightness |
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| Flash head set up |
Tuesday, 27 October 2015
FMS403DBBEAUTYSALMONM Photography Research x David Bailey
David Baileys 'Models Close-Up is a very inspiring book that gives you a inside look of models experiences in front of the camera and Bailey's reasons and passion for beauty and fashion photography. Right at the beginning of Baileys book he says how 'History has not been kind to the model.'(Bailey, David P.6. Models Close-Up) and that models are almost just used as an accessory in the fashion world. From quotes like this in his book, you can see that David Bailey disagrees with the dismissive treatment that models face but also his appreciation for beauty in general. This book has inspired me because of the featured photographs in the book, taken by David Bailey. Model's close up, features some really gorgeous images of iconic successful models in close up and full body shots.
A certain photograph in the book by David Bailey, really inspired me and gave me some ideas of what I would want my photographic lighting to focus on. This photograph captures the former British fashion model Penelope Tree. I found this photograph inspiring because of the way the lighting in this image brightens up her eyes, making them look sparkly and almost glass like, also her skin in the image looks flawless and reminds me of the soft focus effect. Although in this image the main focus I think is the hairstyle as it stands out the most, the positioning shot of the face is something I would like to recreate and experiment with.
http://cdn.shopify.com/s/files/1/0924/2058/files/Penelope_tree_by_David_Bailey_large.jpg?9871758085013203755
David Bailey's determination to become a photographer started in 1958. Bailey then became a photographic assistant to John French; a former photographic director known for working with The Daily Express. David Bailey then moved on to work for the British Vogue Magazine as a fashion photographer in the late 1960's. After David Bailey began to work for British vogue his career lifted off automatically, making him become one the most respected and admirable fashion photographers up to this day. It has said that Bailey is one of the few heterosexual photographers that injected sex into the fashion photography world encouraging and injecting movement character and life into his images.
7 images that changed fashion photography - David Bailey-
https://www.youtube.com/watch?v=kuoTMHBnrxw
References;
(Bailey, David P.6. Models Close-Up)
http://www.npg.org.uk/collections/search/person/mp05044/david-bailey
What I like about this image
- The bright lighting in this photograph, it makes the models face look as if she is slightly disappearing
-The bright light in this photograph makes her eyes look big and beautiful lighting up the whole iris
- The models skin looks soft, flawless and natural, the makeup in this picture looks so subtle, only the eyelashes stand out she almost looks angelic
- The subtle dark contrast on the edge of the photograph works really well concentrating on just one side of her face and defines the side profile of her face really nicely
What I like about this image
- David Bailey is known for introducing sex and movement into his photography in the 60's and you can really tell in this photograph, Jean Shrimpton looks effortless sexy
- I love the movement of her hair in this photograph, only her hair is moving and her face stays in a neutral sexy expression making her look powerful, really catching your eye
- The lighting creates a soft focus effect making her skin look radiant and glowy, the makeup in this image is also really perfect for inspiration for
'the perfect base' brief as her brows are defined,
skin is clean and everything is blended well together
creating a natural no makeup makeup look
-Simple, bright lighting focusing directly onto models
face
What I like about this photo
- The movement of the hair, it looks windswept. I also like
the style of the hair its not perfect, but theres a nice messy style and texture to the hair
- The highlights in Kate Moss' hair really stand out in the
contrast of this photograph
- The cheekbones and eyes stand out beautifully
- The lighting makes her skin glow and look vibrant
A certain photograph in the book by David Bailey, really inspired me and gave me some ideas of what I would want my photographic lighting to focus on. This photograph captures the former British fashion model Penelope Tree. I found this photograph inspiring because of the way the lighting in this image brightens up her eyes, making them look sparkly and almost glass like, also her skin in the image looks flawless and reminds me of the soft focus effect. Although in this image the main focus I think is the hairstyle as it stands out the most, the positioning shot of the face is something I would like to recreate and experiment with.
http://cdn.shopify.com/s/files/1/0924/2058/files/Penelope_tree_by_David_Bailey_large.jpg?9871758085013203755
David Bailey's determination to become a photographer started in 1958. Bailey then became a photographic assistant to John French; a former photographic director known for working with The Daily Express. David Bailey then moved on to work for the British Vogue Magazine as a fashion photographer in the late 1960's. After David Bailey began to work for British vogue his career lifted off automatically, making him become one the most respected and admirable fashion photographers up to this day. It has said that Bailey is one of the few heterosexual photographers that injected sex into the fashion photography world encouraging and injecting movement character and life into his images.
7 images that changed fashion photography - David Bailey-
https://www.youtube.com/watch?v=kuoTMHBnrxw
References;
(Bailey, David P.6. Models Close-Up)
http://www.npg.org.uk/collections/search/person/mp05044/david-bailey
 |
| David Bailey 1963. http://thecaledonianminingexpeditioncompany.blogspot.co.uk/2011_06_01_archive.html |
- The bright lighting in this photograph, it makes the models face look as if she is slightly disappearing
-The bright light in this photograph makes her eyes look big and beautiful lighting up the whole iris
- The models skin looks soft, flawless and natural, the makeup in this picture looks so subtle, only the eyelashes stand out she almost looks angelic
- The subtle dark contrast on the edge of the photograph works really well concentrating on just one side of her face and defines the side profile of her face really nicely
 |
| Jean Shrimpton 1961 David Bailey. |
- David Bailey is known for introducing sex and movement into his photography in the 60's and you can really tell in this photograph, Jean Shrimpton looks effortless sexy
- I love the movement of her hair in this photograph, only her hair is moving and her face stays in a neutral sexy expression making her look powerful, really catching your eye
- The lighting creates a soft focus effect making her skin look radiant and glowy, the makeup in this image is also really perfect for inspiration for
'the perfect base' brief as her brows are defined,
skin is clean and everything is blended well together
creating a natural no makeup makeup look
-Simple, bright lighting focusing directly onto models
face
 |
| Kate Moss By David Bailey 2013. http://www.theguardian.com/artanddesign/gallery/2014/feb/05/national-portrait-gallery-david-bailey |
What I like about this photo
- The movement of the hair, it looks windswept. I also like
the style of the hair its not perfect, but theres a nice messy style and texture to the hair
- The highlights in Kate Moss' hair really stand out in the
contrast of this photograph
- The cheekbones and eyes stand out beautifully
- The lighting makes her skin glow and look vibrant
FMS403DBBEAUTYSALMONM Photography Research/ George Hurrell.
George Hurrell is considered to be by many sources, the 'Master of Hollywood Glamour photography'. Hurrell captured men and women in gorgeous soft focus lighting in his images making every photograph appear to drip in glamour and an expensive glow. Hurrell was introduced to a camera in an art school he attended although his skill at the time was the art of painting. Because of his painting skills he was mentored by Edward Alwyn Pane a famous landscape painter that took Hurrell under his wing in order for him to become a serious artist.
George Hurrell got his big break thanks to his good friend 'Pancho' formally known as Florence Leonine Barnes as she had referred him to Ramon Navarro a movie star at MGM who needed some publicity photographs taken of him for his portfolio. From that moment Hurrell's career expanded and eventually ended up in him getting a job as an portfolio photographer.
I find his photography style beautiful and flattering on men and females. I plan on using George Hurrells photography work as a reference for creating my own photoshoot for 'the perfect base' brief.
What i find particularly inspiring about his style of photography is that, his use of capturing peoples faces makes them look attractive, beautiful and soft no matter what face shape, size or harsh features they may have Hurrell effortlessly makes people look beautiful.
George Hurrell worked with iconic stars such as Grace Jones, Norma Shearer, Jean Harlow, Julie andrews and many more movie stars, making each and everyone one look completely flawless and beautiful.
http://www.waltdisney.org/hurrell
http://www.hurrelleditions.com/legends.html
George Hurrell got his big break thanks to his good friend 'Pancho' formally known as Florence Leonine Barnes as she had referred him to Ramon Navarro a movie star at MGM who needed some publicity photographs taken of him for his portfolio. From that moment Hurrell's career expanded and eventually ended up in him getting a job as an portfolio photographer.
I find his photography style beautiful and flattering on men and females. I plan on using George Hurrells photography work as a reference for creating my own photoshoot for 'the perfect base' brief.
What i find particularly inspiring about his style of photography is that, his use of capturing peoples faces makes them look attractive, beautiful and soft no matter what face shape, size or harsh features they may have Hurrell effortlessly makes people look beautiful.
George Hurrell worked with iconic stars such as Grace Jones, Norma Shearer, Jean Harlow, Julie andrews and many more movie stars, making each and everyone one look completely flawless and beautiful.
http://www.waltdisney.org/hurrell
http://www.hurrelleditions.com/legends.html
 |
| Joan Crawford by George Hurrell 1930. http://missavagardner.tumblr.com/post/9685300003/unretouched-publicity-portrait-of-joan-Crawford |
 |
| Joan Crawford in 'Dancing Lady' by George Hurrell 1933. http://www.nydailynews.com/entertainment/george-hurrell-hollywood-glamour-portraits-1925-1992-gallery-1.1511320?pmSlide=1.1511311 |
FMS403DBBEAUTYSALMONM/ Photographer Research x Richard Avedon.
The talented Richard Avedon, first worked as a photographer for Merchant Marines taking identification photographs then moved onto becoming a fashion photographer. Avedon, began shooting for Harpers Bazaar, and then Vogue, as a fashion photographer Avedon demanded that his models conveyed movement and emotion in his images. Richard Avedon, pushed boundaries in fashion photography world and created imagery that was surreal, provocative and controversial that explored nudity, violence and death. After working for Vogue and Harpers Bazaar Avedon then moved onto to becoming the first staff photographer in the history of 'The New Yorker' then later passed away at the age of 81 years old in October 2004.
These four images below are some of Richard Avedons works that I found whilst searching for his early fashion photographs and portraits. I chose these 4 particular images to use as inspiration when creating my own digital production project.
I like these images because -
- They are bold and eye catching
- Are all equally unique and beautiful to look at
- The mix of simple lighting and a dark contrast makes these images look flawless
- The composition and angles of the models and objects in these images make the photograph stand out even more
How do these images influence me and how can I develop this-
For me these images all symbolise power. These images are all bold, beautiful and have character, this is why I feel so inspired by these photographs as they are perfect examples to look at whilst developing ideas for the perfect base project. Even though the project focuses on natural beauty, I love the idea of making my model look vulnerable in a powerful way where their vulnerability makes the person look even more beautiful and even confident. Because of my aims for this project, Richard Avedon has definitely been one of my favourite practitioners to research about as his portraiture work not only consists of him creating and taking beautiful images of his subjects, but telling a story also.
 |
| Dovima With Elephants by Richard Avedon Paris August 1995. http://www.portrait.gov.au/exhibitions/richard-avedon-people-2013 |
 |
| John Galliano 2000 By Richard Avedon. http://viola.bz/innovative-photographer-richard-avedon/ |
 |
| Elizabeth Taylor By Richard Avedon 1964. http://viola.bz/innovative-photographer-richard-avedon/ |
 |
| Veruschka 1972 By Richard Avedon. http://viola.bz/innovative-photographer-richard-avedon/ |
Richard Avedons Lighting Techniques and photography style-
- Minimalist style
- Model looks directly into camera lense
- Sheer white background
- Large format 8x10 view camera
- Vunerable setting focusing on subject's reactions and emotions
FMS403DBBEAUTYSALMONM Photographer Research x Cecille Beaton
“Be daring, be different, be impractical, be anything that will assert integrity of purpose and imaginative vision against the play-it-safers, the creatures of the commonplace, the slaves of the ordinary.”
—Cecil Beaton
Cecil Beaton's Career
Sir Cecil Beaton was hired as a staff photographer for the huge fashion magazines Vogue and Vanity Fair in the 1920's.Beaton became well known for his unique style of placing and photographing his subjects in front of unusual backgrounds. As well as photographing for Vogue and Vanity Fair Sir Cecile Beaton also went on to photograph the wedding of the Duke and Duchess of Windsor in 1937 and also Queen Elizabeth in 1939.
During world war II Beaton recorded the fighting in England, Africa and the Middle East. After recording the war Sir Cecil Beaton went back to photographing portraiture of the rich and famous and also began creating costumes for well known productions such as 'My Fair Lady'.
Sir Cecil Beaton has been a hugely influential and inspiring photographer to other photographers and artist throughout the years.
'Beaton's photography has been hugely influential upon several successive generations of photographers. Irving Penn cited Beaton's pared-down portrait of Quintin Hogg (Plate 57) as s starting point for his own remarkable series of portraits taken in the 1950's. More recently, the photographers Mario Testing and Johnnie Shand Kydd serve as particularly good examples of Beaton's disciples. Testino has immense flair, as did Beaton, and is acknowledged as the world's leading glamour portraitist of choice for international magazines such as Vanity Fair and the international editions of Vogue. More recently his work has crossed over to the contemporary art world among with other photographers based in Britain, such as Wolfgang Tillmans, Juergen Teller, Tom Hunter and Martin Parr. Shane Kydd came to notice in the 1990's for his intimate and up-close reportage style, reminiscent of Beaton's portraits of the Young British Artists of the 1920's.'
National Portrait Gallery. 2004 (Beaton Portraits 1928 - 1968.) Oman Productions LTD.
Sir Cecil Beaton has been a hugely influential and inspiring photographer to other photographers and artist throughout the years.
'Beaton's photography has been hugely influential upon several successive generations of photographers. Irving Penn cited Beaton's pared-down portrait of Quintin Hogg (Plate 57) as s starting point for his own remarkable series of portraits taken in the 1950's. More recently, the photographers Mario Testing and Johnnie Shand Kydd serve as particularly good examples of Beaton's disciples. Testino has immense flair, as did Beaton, and is acknowledged as the world's leading glamour portraitist of choice for international magazines such as Vanity Fair and the international editions of Vogue. More recently his work has crossed over to the contemporary art world among with other photographers based in Britain, such as Wolfgang Tillmans, Juergen Teller, Tom Hunter and Martin Parr. Shane Kydd came to notice in the 1990's for his intimate and up-close reportage style, reminiscent of Beaton's portraits of the Young British Artists of the 1920's.'
National Portrait Gallery. 2004 (Beaton Portraits 1928 - 1968.) Oman Productions LTD.
 |
| Audrey Hepburn By Cecil Beaton 1964. Google Images Source. |
 |
| Maria Callas by Cecil Beaton 1956. Google Images Source. |
 |
| Cecil Beaton's War Child; Eileen Dunne by Cecil Beaton 1940. http://time.com/3878665/cecil-beaton-portrait-of-eileen-dunne-1940-london-blitz/ |
I love Beaton's use of simple lighting and the his portraiture focuses directly on his subjects face and emotion making them look vulnerable. His photographs have a very timeless theme to them and I would look to try and create one of his looks whilst experimenting in the studio for the 'perfect base' project.
FMS403DBBEAUTYSALMONM/ Photographer Research x Helmut Newton.
Helmut Newton.
Helmut Newton is best known for his works as a photographer for Vogue. After working for many years as a photographer and creating commissioned work for Vogue and Harpers Bazaar, Newton developed a particular photographic style that was erotic and masochistic, some have claimed that he created the 'New Nude'. One of his most famous works is that incredible 'le smoking'.
 |
| Elsa Peretti in Halston Bunny Costume Helmut Newton 1975. http://partnouveau.com/?p=1385 |
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| Le smoking for Yves Saint Laurent, Helmut Newton 1975. http://www.icon-icon.com/en/helmut-newtons-photograph-le-smoking-yves-saint-laurent.html |
 |
| Helmut Newton Vogue 1977 |
I love the style of Helmut Newton's photographs, they scream glamour, sex and class all in one. They all seem to have a classic, timeless feel to them which makes you want to be part of the moment and look beautiful like the models in his images. He seems to use a really simple lighting and a very dark contrast in his images which really makes the image pop.
FMS403SalmonM Digital Production x The Uncanny Valley.
What is the Uncanny Valley?
The Uncanny Valley is a hypothesis created by the Japanese professor Masahiro Mori (1970), discussing that when someones "features look and move almost, but not exactly, like human beings it causes a respond of revulsion among some observers." This basically implies that when something looks too perfect it looks extremely creepy. When I recently learnt this in a seminar I was really shocked that this hypothesis actually existed, as I had always thought to myself of how certain magazine models look so symmetrically perfect that it resembled a mannequin and appeared strange. This hypothesis is something to consider when retouching my imagery and final photographs as I want my model to appear human and themselves. I find this hypothesis important when considering post production and also fashion and beauty advertisement as it explains why models and women we see in campaigns appear to be overly perfect and dominantly all have westernised features, no character or uniqueness, just a clone.
I find the Uncanny Valley interesting but also scary, I feel that it is an important hypothesis that can prove that perfect symmetry appears more creepy then attractive in facial features and very unrealistic as it is only mainly found it robots.
This website gave me some amazing and appalling images that showed just how extreme post production can get, completely removing a person characters making them appear a different person.
http://www.buzzfeed.com/jenniferschaffer/can-brain-scans-reveal-what-you-wish-you-looked-like#.hy1oBKmPl
Uncanny Valley Robot Videos - These two links show video sources of different examples of Masahiro Mori's hypothesis of the Uncanny Valley, I also found it interesting that this is seen is animations as well as robots and post production (photoshop retouching).
http://www.strangerdimensions.com/2013/11/25/10-creepy-examples-uncanny-valley/
http://www.wired.co.uk/news/archive/2015-08/14/uncanny-valley-robot-videos
References.
http://spectrum.ieee.org/automaton/robotics/humanoids/an-uncanny-mind-masahiro-mori-on-the-uncanny-valley
http://www.strangerdimensions.com/2013/11/25/10-creepy-examples-uncanny-valley/
http://www.psy.gla.ac.uk/~frank/Documents/InSearchUncannyValley.pdf
http://www.bbc.com/future/story/20130901-is-the-uncanny-valley-real
The Uncanny Valley is a hypothesis created by the Japanese professor Masahiro Mori (1970), discussing that when someones "features look and move almost, but not exactly, like human beings it causes a respond of revulsion among some observers." This basically implies that when something looks too perfect it looks extremely creepy. When I recently learnt this in a seminar I was really shocked that this hypothesis actually existed, as I had always thought to myself of how certain magazine models look so symmetrically perfect that it resembled a mannequin and appeared strange. This hypothesis is something to consider when retouching my imagery and final photographs as I want my model to appear human and themselves. I find this hypothesis important when considering post production and also fashion and beauty advertisement as it explains why models and women we see in campaigns appear to be overly perfect and dominantly all have westernised features, no character or uniqueness, just a clone.
I find the Uncanny Valley interesting but also scary, I feel that it is an important hypothesis that can prove that perfect symmetry appears more creepy then attractive in facial features and very unrealistic as it is only mainly found it robots.
This website gave me some amazing and appalling images that showed just how extreme post production can get, completely removing a person characters making them appear a different person.
http://www.buzzfeed.com/jenniferschaffer/can-brain-scans-reveal-what-you-wish-you-looked-like#.hy1oBKmPl
Uncanny Valley Robot Videos - These two links show video sources of different examples of Masahiro Mori's hypothesis of the Uncanny Valley, I also found it interesting that this is seen is animations as well as robots and post production (photoshop retouching).
http://www.strangerdimensions.com/2013/11/25/10-creepy-examples-uncanny-valley/
http://www.wired.co.uk/news/archive/2015-08/14/uncanny-valley-robot-videos
References.
http://spectrum.ieee.org/automaton/robotics/humanoids/an-uncanny-mind-masahiro-mori-on-the-uncanny-valley
http://www.strangerdimensions.com/2013/11/25/10-creepy-examples-uncanny-valley/
http://www.psy.gla.ac.uk/~frank/Documents/InSearchUncannyValley.pdf
http://www.bbc.com/future/story/20130901-is-the-uncanny-valley-real
FMS403DBBeautySalmonM Digital Production x Old Methods of retouching.
Retouching has been existent since the 1860's and before photoshop, the processing and editing of photographs were much more fun and creative. On my previous course I was able to use different sources other then a digital camera such as a dark room which I loved, and I think although slower then a digital camera, made the process of picture production more worth while and exciting. Before computer programming like Photoshop, photo retouching was made with the use of things like ink, paint, using darkrooms to form together negatives with photos and also the method of double exposure.
Raymond Wardell was a talented artist, well known for his skills in photographic retouching. Wardell published his own book ( Wardell, Raymond Shortcuts to Photo Retouching For Commercial Use, 1946).Which demonstrated step by step the process and tools used to traditionally retouch photographs. At the beginning of photographic retouching, the primary majority of photographic imagery was processed into black and white, so the techniques used to retouch were mostly for that kind of colour image. Wardell's techniques and examples he shows in his book are fascinating and its so interesting to see how something that can be digital corrected in under ten minutes today, took as long as creating a intricate oil painting back then.
Here are a list of interesting ingredients and tools used to create traditional retouching, compared to simply downloading photoshop -
- 'Library paste'
-'Gelatine sheets or capsules'
-'Drawing table'
-'Retouch grey paint'
-'Rubber cement'
-Rubber Roller'
-'White water colour paint'
-'Paint brushes'
-'Photo glossy colour'
-'Absorbent colour'
(Wardell, Raymond Shortcuts to Photo Retouching For Commercial Use, 1946).
Website References discussing different retouching for certain era's -
http://www.thesun.co.uk/sol/homepage/news/4723172/victorian-images-trick-photography.html
http://io9.com/the-amazing-world-of-photo-editing-before-photoshop-461170976
http://creativepro.com/scanning-around-with-gene-the-old-way-of-photo-retouching/
http://petapixel.com/2014/10/17/beauty-retouching-early-1900s-portrait-actress-joan-crawford-thats-photoshopped/
Raymond Wardell was a talented artist, well known for his skills in photographic retouching. Wardell published his own book ( Wardell, Raymond Shortcuts to Photo Retouching For Commercial Use, 1946).Which demonstrated step by step the process and tools used to traditionally retouch photographs. At the beginning of photographic retouching, the primary majority of photographic imagery was processed into black and white, so the techniques used to retouch were mostly for that kind of colour image. Wardell's techniques and examples he shows in his book are fascinating and its so interesting to see how something that can be digital corrected in under ten minutes today, took as long as creating a intricate oil painting back then.
Here are a list of interesting ingredients and tools used to create traditional retouching, compared to simply downloading photoshop -
- 'Library paste'
-'Gelatine sheets or capsules'
-'Drawing table'
-'Retouch grey paint'
-'Rubber cement'
-Rubber Roller'
-'White water colour paint'
-'Paint brushes'
-'Photo glossy colour'
-'Absorbent colour'
(Wardell, Raymond Shortcuts to Photo Retouching For Commercial Use, 1946).
Website References discussing different retouching for certain era's -
http://www.thesun.co.uk/sol/homepage/news/4723172/victorian-images-trick-photography.html
http://io9.com/the-amazing-world-of-photo-editing-before-photoshop-461170976
http://creativepro.com/scanning-around-with-gene-the-old-way-of-photo-retouching/
http://petapixel.com/2014/10/17/beauty-retouching-early-1900s-portrait-actress-joan-crawford-thats-photoshopped/
Digital Image Production x booking out a studio.
After being inspired from a recent studio lesson with Chris, me and two other girls in my class decided to book out a studio and experiment. When experimenting our focus was mainly on recreating our own beauty portraits inspired by sources from Google images, Vogue and other beauty advertisements, we had found on our phones. We began with naked lighting and no filter or effect over the light e.g. Umbrellas or reflectors. The lighting we chose at the beginning created a really nice contrast affect to the first girl who volunteered to model. The lighting enhanced her cheekbones and the rest of her facial structure but, we decided something was missing and wanted to add something more interesting to the portrait, this is were we began playing with reflectors.
The beginning poses we began to shoot, mainly consisted of featuring the hands in the shot so, we played around with the silver side of the reflector so that the fingers and shape of the models hands became enhanced and more of a focus point, alongside her face. We then began to play with the inclusion of movement in the shots, this consisted of getting the model to move the opposite way of the camera or towards the camera so that the photographer could get a good shot of the mid moment of movement. We instructed our model to let her hair loose from the bun she was wearing and use her hair to create more movement in the images. Our model faced directly at the camera, her face down to her chest completely in the shot and then instructed her to begin moving spontaneously alongside moving and flicking her hair with the poses.
At first It was quite difficult to capture her face completely in the shot, and the first few images we had managed to take were mostly shots of her half in the image or just her hair in mid air. Because of this, I asked the model to move backwards more playing with the position she was in of the camera, and then instructed her to create the same movements as before. This worked slightly better but I felt that these types of photographs were not my favourite, I think that It would take a lot of practice in general and better communication with the model to capture the movement perfectly. After experimenting with the movement shots we began taking interesting beauty portraits which consisted of the model sitting down under umbrella lighting and in between some light bouncing boards. These created really beautiful lighting on the face, I was the model for these shots and after observing some of the pictures captured I saw that the lighting we chose rally enhanced and brightened the skin on show of the model. I would use this type of lighting again to experiment with creating my final images.
The beginning poses we began to shoot, mainly consisted of featuring the hands in the shot so, we played around with the silver side of the reflector so that the fingers and shape of the models hands became enhanced and more of a focus point, alongside her face. We then began to play with the inclusion of movement in the shots, this consisted of getting the model to move the opposite way of the camera or towards the camera so that the photographer could get a good shot of the mid moment of movement. We instructed our model to let her hair loose from the bun she was wearing and use her hair to create more movement in the images. Our model faced directly at the camera, her face down to her chest completely in the shot and then instructed her to begin moving spontaneously alongside moving and flicking her hair with the poses.
At first It was quite difficult to capture her face completely in the shot, and the first few images we had managed to take were mostly shots of her half in the image or just her hair in mid air. Because of this, I asked the model to move backwards more playing with the position she was in of the camera, and then instructed her to create the same movements as before. This worked slightly better but I felt that these types of photographs were not my favourite, I think that It would take a lot of practice in general and better communication with the model to capture the movement perfectly. After experimenting with the movement shots we began taking interesting beauty portraits which consisted of the model sitting down under umbrella lighting and in between some light bouncing boards. These created really beautiful lighting on the face, I was the model for these shots and after observing some of the pictures captured I saw that the lighting we chose rally enhanced and brightened the skin on show of the model. I would use this type of lighting again to experiment with creating my final images.
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