Grin and Bear it photography

Weekly feedback 15/01/2018

Michael is a commercial photographer/ film maker/ communicator based in Tyne and Wear with over 20 years’ experience in the various areas of photography and film processing.

Michael first discovered a passion for photography at a very early age and thanks to a caring Grandmother he received his first camera at the age of 12.  Ten years later Michael found himself at Newcastle College as a mature student on the FdA Photography course. Unlike his fellow students Michael was already a semi established photographer with an exhibits already under his belt. His first photography project was a personnel one exploring the world and integration of deaf children coming in to the public school system. He followed up his portrait work with a shoot and exhibit exploring people and their tattoos, the looks and designs.

           Michael introduce us to a variety of his work and portfolio work, happily chatting to us about how he gained employment, problem solved and create more and more material.

           His biggest advice to us was to chase personnel work, photograph things that excite and interest us. It can lead to paid work, recognition and new opportunities. Enter competitions and chase awards, they can and do lead to bigger opportunities too.

I gain quite a few great points from Michaels talk and chatting to him before and after the talk. Things like being a good problem solver is important to photographer as we are always having to overcome problems through our work. When shooting video or stills always try to take three shots, one long/full shot, one medium/ half shot and one close up. That way straight away you have a variety of interesting shoots to work with.

We also chatted about websites and blogs and the importance of creating content for people to see and look through. But with content creation ensure only a limited eye catching amount is show or put forward and that must be material of the highest standard. One of the ideas we talked about was the idea of a shot of the week/month, something interesting to give followers something to follow.

Michael also gave us his thoughts on the best way forward with moving images, if we decide to create and use them the best length is around 1 minute 15 to 1 minute 30. That is the best time length to capture people’s attention without them switching off or turning over.

 Q and A with Michael:

 1.    Do you approach your clients or do they approach you?

Reply: A bit of both, website and publish work online to promote work. Digital flyers, show problem solving, blogs etc.

Keep ideas and work open to all, not heavily targeted to one small group of people or a single idea. But do target audience for your work.

2.    What was your length of service at Amber Printing?

Reply: Long term employer before leaving to chase his own work and career away from high end printing.

3.    What awards and competitions would Michael Suggest?

Reply: Student awards, local awards, anything and everything.

It’s worth looking at eye catching materials and previous winners to get an idea what the judges are looking for.

The aim of this essay was to pick a high-end portrait photograph from a magazine or advertising campaign and to sit and explain how the photographer has achieved his shot, using what technique and lighting.

           For my essay, I decided to approach this in a different way, with all the high-end photography today, and Photoshop techniques for improvements to a person or the overall shot, it is difficult to say how a photograph was done with complete certainty. People rely too much on the post photoshoot techniques and not enough on getting the best shot first time.

So, my choice of photograph is a shot taken in 1941, back before we even dreamed of the techniques and equipment we have now. Back when it was about the photographer getting the best from his equipment, set up and model. Drawing on a book The Great Life Photographers by Thames &Hudson 2009, I decided on a very unique photograph taken by Bob Landry, his subject was the very famous actress Rita Hayworth.

 The original photograph was an idea by and a Hollywood agent for a PR piece, the outfit was made and supplied by his Mother and Bob Landry was invited to Rita Hayworth’s home to shoot this piece in her bedroom.  A range of shoots were taken but the final shot which became the famous GI Pin up shot of WW2 was thanks to the photographer using his imagination and flair. He simply asked Rita to breath in and took the shot. The shot when on to be a cover of Time magazine August 1941 and has been produced over 5 million times since its publication.

Now the big question, how was it shot?

           In my option looking at the angles of the light and shadows both upon the subject, the bed and the wall behind her. I would say it was most likely shot using a single light source, for the time most likely an Arri Style light. The light is itself is set to the left of centre (Photographer’s Left), slightly higher than the subject to cast a downward light to catch her face and arms, but allow her to retain her modesty. The photographer has used a key detail when lighting his subject and that was not trying to light her straight on or from below, this can cast shadows around the neck and create an unflattering look to the final piece. The piece itself would have had its share of difficulties when shooting, the main one being the shine and reflective nature of the satin outfit and sheets.  The other obvious one is that you are shooting a lady in her home in such an outfit with multiple people present. Trying to help her relax, enjoy her shoot and gain the right look and feel would have been an interesting challenge too.

Weekly feedback week ending 19th November 2017.

Michael Ormerod Travel Award 2017

  Michael Ormerod was a Cheshire born Photographer and Lecturer of Photography at Newcastle College until the time of his death in 1991 from a motorcycle accident in Arizona, USA. He left behind a unique photographic legacy of his work and travels through the back yards of America. Photographing the run-down side of the American Dream, run down and forgotten industry and the ghost towns they created. His work featured atmospheric scenes of bleak towns and empty highways. Through his work you can see how bleak the future looks from the point of view of the people living and surviving in these places. Michael’s final photographs were compiled and released after his death in the book “States of America” At the time of his death Michael was only 44.

 The Michael Ormerod Travel Award was created by his Father and the aim is to give one Photography Student at Newcastle College a chance to travel and photograph their own concept based upon the competition theme. The prize comes in two parts, the first is a £750 to help towards the cost of travel and making your concept shoot happen. The second is to have your work exhibited in the Mandela Building of Newcastle College for any and all to see.

 The theme of the 2016 competition was “Distance” and was won by a 3rd year BA Creative Enterprise Student, Sonia Korpok. Sonia’s concept was about her family life, her relationships to her sister and parents. The difficulties we all can and do feel with events that land in our personnel lives.  The distance came in to play because she and her family come from Poland, and even with her Sister living in the UK 4 hours away, distance features heavily in her life. I can relate to her theme and choices, as I am not from Newcastle Upon Tyne and my family lives 4-5 hours away in Essex and it’s not often I see them and it can be hard. She exhibits displays various shoots of both her family in their home and some away from the family home. It was interesting how her shots displayed a variety of styles, some candid, some portrait, posed, and still life.

 Sonia’s work was displayed in simple wooden frames, with a light stain look which worked quite nicely with her photos being mainly dark shoots taken inside of rooms with normal lighting. The lay out of the shoots again with a nice simple set up with her shots lined up along the sides of the hall so people can move freely through and past. The one disadvantage of this is that it is too easy just to walk on by and not stop and look or even notice they are walking through someone concept and life moments.

I think it doesn’t help with the amount of free space, the exhibit only uses two thirds of the hall and doesn’t have any middle displays to bring in images, this may be by choice which I do hope or the amount of material Sonia wanted to display.

A few thoughts to improve to look and feel:

           Maybe add a centre piece in the middle section of the hall, a table set for a family meal or the board games featured in one of the photographs.

           Perhaps add some music, sounds to the space to capture the mind as you move through

           Maybe add some location photographs or a large map to show where the concept was shot to add the feel of distance.

                             FdA Photography Level 4

NCI 404 Practice Enrichment Photographic Practice Evaluation

(reviewed November 16th 2017)

                                     Project: Creative “Hat” Portrait

 Why Steven feels this brief was given?

Steven feels the brief was given to us not only as a opening project, but as a way to see what we as new Level 4 Students could produce based upon the knowledge and abilities we already held. Steven’s group is quite a mix of people, styles, abilities and knowledge. Some people come from full time Level 2 and 3 courses, others have ome at his course from A level courses at other schools and for Steven part time study for Levels 2 and 3. From the Tutors point of view this project is an opportunity to assess, retrain and develop a new class of people. For some this was covering old ground, for others it was a refresher and for some it was a chance to fix and re-train their knowledge and skills.

This project was also a chance for both the Tutors and Students to break the ice, settle in and show what we can produce from our own inmaginations, styles and personnilities.

 What Steven thought of the project:

           Steven found it an interesting concept in its various parts, forms and approaches. The initial part to the overall project was a good introduction to the project through the look for how light effects a subject and how by adding control measures it can be controlled and directed to achieve various looks and results. Through the experimentation of portrait photography using a single fixed source of constant lighting and the use of different hats, a better understanding of how to approach part two of the project was given. This was done as a way of introducing/ reintroducing us to the ideas and understanding of how light works and how it can be controlled and used to create photographic looks.

           His initial difficulties with the second part of the project came not from seeking something to replace the everyday hat on head prop. But to find and develop not only a head worthy prop but a complete working look of prop, outfit and especially a model who could fit the look completely and naturally. To Steven that was the key to the whole piece, Steven could have a million and one ideas but if the model didn’t fit the concept, then the concept would not work.

 What part of the project was most interesting/enjoyed?

           For Steven, it was the freedom to explore concepts, set ups and my own interests to develop the concept. To be able to express, thoughts, feelings and messages through the final portrait, to be able to move pass the binderies and walls that Steven feels he faces every day with communicating his thoughts and ideas through speech and deed.

What new techniques were experienced?

           The two main techniques Steven had the chance to explore were different lens sizes and Photoshop.

           With the use of a 105mm lens in Steven’s second/ reshoot he was able to learn how a longer lens and a change in distances for both myself and the model from each other and the backdrop could create a shallow depth of field, thus putting all the focus on his model and leaving the background slightly out of focus but with all the colour and image still in place.

           Photoshop was another new tool and technique for Steven, using the various healing tools to help blend the background of my final portrait. Due to Steven’s background being very last minute to the shoot and the trouble locating a British Flag large enough to fit the backdrop, it was very creased from where it had been stored in a packet from its point of sale.  

 Techniques to develop further?

           At present creative portraits and Photoshop techniques are areas Steven wishes to develop more skill and experience in.

Creative portraits are quite an interesting and artist challenge for him as well as being a great outlet to show Steven’s developing skills and imagination.

           As for the Photoshop, Steven found it an amazing tool that can shape and create many different looks and images and he wants to explore its abilities in more depth.

 Photographers Researched in support of project?

Steven’s main research focus and inspiration came from places, people and propaganda styles from the 1940’s and WW2. Some of the best examples actually came from Soviet propaganda and the whole power of the people look.  These images worked as a starting point as he wanted to show both myself and my model, poses of heroic looking women in the style and time he wanted to recreate.

           Ultimately it was an American propaganda poster that caught his eye and was used in his recreation piece. The poster was Rosie The Riveter, the poster was designed to encourage women in to the work force to replace the loss of working men who were either volunteering or being drafted in to the Military to fight both the Japanese and Germans (Axis) Forces on both the Western and Eastern fronts.  It became quite a focus piece and went on to become one of Steven’s best shots.

One photographer who came to Steven’s mind via research was a Lady called Lee Miller, a Lady who started her work career as a Model who discovered her passion for photography and became a War photographer are the war broke out in 1939 as she was living and working in Britain at the time.

Taken from Wikipedia

“At the outbreak of World War II, Miller was living in Hampstead in London with Penrose when the bombing of the city began. Ignoring pleas from friends and family to return to the US, Miller embarked on a new career in photojournalism as the official war photographer for Vogue, documenting the Blitz. She was accredited into the U.S. Army as a war correspondent for Condé Nast Publications from December 1942. She teamed up with the American photographer David E. Scherman, a Life correspondent on many assignments. She travelled to France less than a month after D-Day and recorded the first use of napalm at the siege of St. Malo, as well as the liberation of Paris, the Battle of Alsace, and the horror of the Nazi concentration camps at Buchenwald and Dachau.”

How it has influenced Steven’s photography?

           Steven found that even now the photos of women working the male roles and the propaganda from the 1940’s still very striking and thought provoking.

           The shot of American Nurse’s coming ashore at Omaha/Utah Beach July 1944 is one of the photos that made him stop and think the most.

Steven is not sure if it is the fact they are wearing and looking like GI’s (General Infantry) due to the lack of female service uniform or the fact they are coming ashore to staff field hospitals not a handful of miles from the main line of defence in preparation for the final breakout and liberation of France.

 What was the most successful part of the project?

           For this project and Steven’s final portrait, Steven feels the most successful part would be the use of a 105mm lens to create the sharper focus on his model and the shallow depth of field on the background. The fixed 105mm worked well, but for Steven’s personnel preference and work style He prefers an adjustable lens to allow more control and movement.

 Problems encountered with the project:

           The initial problem Steven thought he would encounter was to find the right model for his portrait, turns out it was not even the problem Steven believed it would be. With the kind help and support from his friend and ex Level 2&3 photography student Anastasia who is now a Performance Arts Student at Northumberland University.

           Steven’s next stumbling block came after Steven’s first shoot and was brought forward with the help and support of my tutor and class mates. Through group discussion the first photoshoot had missed key points that were needed to complete the project to a high standard.

The following points were highlighted:

·         Needs to have a more heroic look and pose

·         Needed to show the model posture and grip of tools

·         Background needed work or redesign

·         Produce some kind of large size examples of poses and inspiration to work from in studio

 What was learnt from problems and mistakes?

           How did they affect final portrait?

As a starting point, Steven went back over the project and decided to come at it from an old but very suitable work method. KISS- Keep It Simple Stupid. By re-planning the shoot and keeping as much of the shoot, planning preparation, etc as simple as possible it straight away gave more time and scope to spot and adjust the various little problems that had been missed previously.

           An engineering feel was needed to help improve the look of the shoot, what Steven had failed to understand in the time of his first shoot is that Steven’s model has never worked in any kind of industrial environment.  So her posture and knowledge of heavy industry tools is very limited. But with a simple explanation and demonstration she felt quite at home with the tools and how an engineer would hold them for the job at hand.

           As for the poses and posture, Steven researched and printed off a set of six nice clear examples from the 1940’s of both women at work in the factories and the propaganda posters that went along with them too. For example, Rosie the Riveter was a key piece of visual aid.

           With the suggestion of a 105mm lens and model/photographer repositioning a whole new look was explored and developed in to the final look.

This helped to not only strengthen the look of Steven’s portrait, but it helped to blend out the background flags creases.

 Things to reconsider or do again if project is repeated:

•          Research and explore different types and sizes of camera lens, maybe look in to filters too.

•          Explore the availability and use of period outfits

•          Location work, even with the finished look and portrait which worked very well, the chance to work on location to add more to this concept would be a natural next step. Maybe an engineering workshop, blacksmiths etc

•          The one element of Steven’s final piece/shoot that he feels with absolute certainty is that he would not change is his model. Anastasia was absolutely perfect for the role of Rosie. She had a very natural look and feel to the part. But as well as her natural look, she also has the spirit of the girls, the give it a go and never give up attitude.

•          Steven feels that talking more to people both photographers and models about shooting creative portraits, to be able to hear more ideas and discuss his could add a great depth and angle to his next project.

 Overall Weaknesses in the project:

·         The main one for Steven was a lack of knowledge and experience with portrait photography

·         Communication with model, Steven feels he didn’t give enough co ordination to his model

·         Not thinking about models knowledge and skills with new situations and equipment

 Overall Strengths in the project:

·         Steven showed he could taken in feedback and advice, and in turn add the new imformation to his shoot to develop it further

·         Good choice in model for the overall look and feel of the piece

·         Going one step further with the backdrop, and sourcing items that would add to the look and feel of the shoot

·         Overall the final pieces were striking and thought provoking

·         Limited use of photoshop in the look of Steven’s model, keeping her look as natural as possible to capture the look of the time

Material Matters Exhibition Review by Steve Brown

 As part of my FdA Photography learning I was invited to attend an exhibition of work by Newcastle College Alumni. The event itself was a part of a bigger event, the Northern Design Festival 3-8th November 2017. This year’s theme was “Material Matters” and the aim was to showcase leading design and talent from across the North of the United Kingdom.

           The main focus for me with this event was the Newcastle College Material Matters Exhibit at 14 Bladford Sq.

The displays inside were from a variety of Alumni of the College:

           Jo Shippen, is a Fashion stylist working in advertising, editorial, still-life & Music. Training as a Luxury window dresser has given her an informed understanding of product and composition which influences her fast-paced style and ability to work with all products. www.joshippen.com

           Emily Wintrip, a former FdA Photography student with an interesting body of work behind her.

Emilywintrip.wordpress.com

           Andy Wilson, a very well-travelled and interesting photographer with an impressive portfolio of work including aerial photography and military commissions. Andywilsonphotofolio.net

           Michael Baister, Michael works with design, advertising agencies and he also works direct for a wide range of clients from small one-man organisations to large blue-chip companies.

Michaelbaister.co.uk

           Mark Taylor, Mark is an established Wedding/family moments photographer who works across the United Kingdom.

Marktayorphotography.co.uk

             The displays were a combination of physical prints, art pieces and displays to actual pieces of work and retail examples. With the one exception of a piece by Jo Shippen which was a projection of a few of her photographic work projected on to a rusting sheet of sheet steel.

There were a few pieces that both interested me and catch my eye as I moved through the exhibit. The first was on the left-hand wall reception hall, it was a set of portrait shots by Mark Taylor. They were military portraits depicting British officers either from world war one or world war two, without the necessary knowledge and reference materials I couldn’t say which with absolute certainty due to military styles changed very little between wars due to cut backs and lack of developments within the British Armed Forces up to around 1937. They were quite interesting to look at, the backgrounds were very fitting to the styles, dark colours for the background rather than say high key or grey. It was also god to see the use of either period clothing and styles or the use of good quality reproductions, this is always important with period looks as you use the wrong item or look people can pick it out very quickly and you lose the look and feel you are aiming for. The one point that show this well was an Officer with creased trousers, if this was a portrait photograph done for a serving or retired Officer of the British Army he would not under any reason have creases in his clothing other than the ones required under the Kings regulations. His Batman or Military Man servant would insure he was well turned out at all times.

                                                                                        If this was a field representation then it is understandable as the photographer is trying to show a field Officer but pre-1920’s a high-ranking Officer would not be seen on the front lines unless they were undertaking a rare visit.

The next exhibit that caught my eye and gave me a really good laugh was by Sally Poore and her Gateshead/Newcastle postcards. For me she had captured the whole Newcastle/Gateshead revelry well. Both places are such unique places to visit and live, they have so much in common but at the same time so much that is unique to themselves.

She made the whole thing feel like either a pair of children unable to see they make a great team but can’t bring themselves to admit to themselves or each other or siblings. I really enjoy the letter format and was quite pleased to hear these pieces are on sale at the Baltic as I would be happy to have a set of them myself.

My next stop and for me one of the most interesting was to Combination exhibit of Jo Shippen, at first glance you see her pieces projected in the centre of the room, she had some quite intriguing pieces on display that pushed you to stop and look to take in what the image is and how it was posed.

I quite liked the use of a piece of sheet steel as a back drop especially how the rusting and pitting at to the look and feel of her work. It was interesting to see Fetish photography at the exhibit, it was very different and eye catching. Jo Shippen has quite a unique look both artistically and her choice in props. In today’s society BDSM and Fetish photography is becoming more and more main stream and day to day, but I still find it quite unique to see and consider especially like this in such an open exhibition of people’s work. If it is created and photographed well it can make for an incredibly striking look and creation that can hammer home various ideas, feelings and looks but at the same time if the person creating a look with this doesn’t have the knowledge and skill for this medium it simply becomes badly shot porn and therefore not only loses the chance to be a striking or thought-provoking piece but simply shows the world the inability of the creator and photographer. For me the whole world of BDSM and fetishism is a very unique place to see and record, it is a medium that requires a unique approach, skill and preparation at all times as the images and concepts are created.

Overall the exhibit was quite an interesting look at various ideas, photographers and creators who are established in their chosen industries. These people and their display choices have made for a very interesting and varied display, in quite a unique venue.

Matjaž Tančič's best photograph: a pink-hatted woman in Pyongyang Folklore Park

‘She was so confident and classy’ … Tančič’s shot of the visitor to the theme park. Photograph: Matjaz Tancic

 “Then I saw a lady with a big pink hat in the distance. She said yes to a photo, so I asked her to stand in front of the model building. Before I could ready the camera she looked back, saw the leaders’ portraits on the side of the model and said: “I cannot be higher than the leaders.” So I asked, “What if you kneel down?” She knelt and I finally took the photo. It was with a flash because it was midday and really disgusting natural light, but in the end it turned out to be my favourite shot from Pyongyang.”

 “It was 2014 and I was in North Korea for a project called 3DPRK, which ended up being the first photo exhibition by a foreigner to be shown in Pyongyang. The idea was to shoot as many intimate portraits of normal people that I could. We packaged the concept as “photos of tourist spots, promoting tourism”. The guys from Koryo Tours, the company I collaborated with on the project. We would go for a tour, meet officials, say, “Oh, it would be cool if we could do something”, go home, come back and so on. It took eight months of that to get my trip approved.” 

“Despite this, they didn’t check a single shot – no one did, at any point. The guides always emphasised how many times each leader had visited a site, how fast it was built, how great it was. I was just nodding, nodding, nodding, while looking around for everyday people to shoot. It was part of the game: I had to be respectful and interested, which I was. I played my game and they played theirs.”

 Fullerton, J. (2017).

Matjaž Tančič's best photograph: a pink-hatted woman in Pyongyang Folklore Park.

Available:

https://www.theguardian.com/artanddesign/2017/nov/08/my-best-shot-matjaz-tancic-best-photograph-north-korea-pyongyang.

Last accessed 08th November 2017.

  Me and Barack Obama: eight years photographing the president

 After only 24 hours, I had already begun thinking a crazy thought. The senator was not from a famous or political family. His father was from Kenya, his mother from Kansas. His name was Barack Hussein Obama. But he had a gift. What if? I thought to myself. Could I be observing the future US president? I imagined how that photograph of him seated at his stale bureaucratic desk in his drab government office might compare with a future one of him sitting at the Resolute Desk in the Oval Office.

 On paper, the job is to visually document the president for history. But what, and how much, you photograph depends on each individual photographer. I thought I knew what I was in for. I had worked at the White House in my 20s as a “junior” official photographer during the Reagan administration. The person I wanted to emulate was Yoichi Okamoto, President Lyndon Johnson’s chief photographer. Previous presidential photographers had taken a lot of ceremonial pictures and few candid ones. Okamoto pushed the bar and photographed seemingly everything Johnson did.

Obama greets custodian Lawrence Lipscomb in the Eisenhower Executive Office Building, 3 Dec 2009. Photograph: Pete Souza/The White House

 Obama and I shared a lot of time together. It was 10 to 12 hours a day, five days a week (and sometimes six or seven). I photographed every meeting, every day, every place he went to. The Oval Office, the Situation Room, the Roosevelt Room. Nearly 1.5m miles on Air Force One. All 50 states; more than 60 countries. Just shy of 2m photographs over eight years.

 Souza,P. (2017).

Me and Barack Obama: eight years photographing the president.

https://www.theguardian.com/us-news/2017/nov/08/me-and-barack-obama-eight-years-photographing-the-president.

Last accessed 08th November 2017.

Dead grasshopper discovered in Vincent van Gogh painting

Part of a photo of Vincent Van Gogh’s painting Olive Trees, painted in 1889, where a tiny grasshopper was found submerged in the paint. Photograph: AP

“Curators at the Nelson-Atkins museum of art in Kansas City said they discovered the dead insect in one of its star paintings, Vincent van Gogh’s Olive Trees, when it was being scanned as part of the research for a catalogue of its French painting collection.”

 “He discovered that the insect’s thorax and abdomen were missing and there was no sign of movement in the surrounding paint. In other words, it was already dead and desiccated when it somehow landed on the artist’s wet canvas and could not be used for dating purposes.”

 “The museum said more significant research on the painting was underway with new analysis showing that Van Gogh used a type of red pigment that gradually faded over time. That suggests the painting looks slightly different today than when it was completed.”

 Mark Brown

Dead grasshopper discovered in Vincent van Gogh painting

The Guardian

https://www.theguardian.com/artanddesign/2017/nov/08/dead-grasshopper-discovered-in-vincent-van-gogh-painting