Experimental - the last one

Multiple Exposure

For this image I used 4 photographs taken with the iPhone and a special app for long exposure (Camera<>) and photographed the lilac in my garden when wind was strong causing a lot of movent. To exaggerate the blurryness (is that even a word?) I uploaded the images in photoshop, stapled them precisely at their edges and set the opacity of each layer to around 30 %.

Specialist Location - Pet Portraits

For my Specialist Location Brief I originally wanted to portrait working dogs (police dogs) with their handlers while working and training and combine it with a formal studio portrait of them to capture the different appearance and concentration as well as to pay respect for the work they are doing on a daily basis to protect the public and show the incredible accomplishments these dogs are able to achieve. 

To get in touch with the training grounds of the police dogs I used several 'doggy' contacts I made over the last year or so. I finally got in touch with the head of the dog training unit in Hough End, Martin Almond, who was so nice to support my idea. I had the chance to go out and take some impressive pictures of the dogs at work but unfortunately holiday season hit me and I couldn't take the studio portraits of the dogs with their handlers in time. For that reason this in the end didn't become my final brief since I wouldn't have felt good about handing in only half of what I have envisioned.  I will however stick to the project since it is very close to my heart. 

Instead I have decided to hand in formal portraits of dogs I have taken over the last months. 

When I started to take portraits of dogs I wanted to take them seriously. Capture their personality and treat them with respect. No hoochy poochy, pink powdered background, puppies in an fruit bowl but contemporary, sleek portraits of the personalities they are.

Pet photography is often smiled at (similar to wedding photography) but if the photographer is dedicated to his art and craft and his model some amazing pictures can emerge. There are some pet photographers working successfully internationally.

My biggest inspiration on the topic of pet photography is Rachael McKenna, an internationally reknown photographer with a passion for portraiing of pets. She does studio work with them as well as on location and some of the most iconic images we know of pets are taken by her. Her approach is so respectful and with a loving eye, this is something I want to achive with my images as well. Rachel kindly allowed me to post a few of her images in this evaluation and you can find more of her amazing and inspiring work (my favorite project of her currently is: The New York Dog) at www.rachaelmckenna.com

Not only is Rachael an outstanding photographer, she is also so lovely and wrote the friendliest and most encouraging message to me when I asked her permission to display her work in this blog.

(all images shown curtesy of Rachael McKenna)

I don't want to brag (well, actually I do) but after looking closely again on Rachael's work I am proud to say that stylewise my pictures are not far off hers. 

Other influential photographers are: Ron Schmidt, (www.looseleaches.com) who works a lot with props and a comical, humourus approach; Tim Flach (timflach.com) his style reminds of the old masters and Martin Usborne (martinusborne.com) who had a raging success in 2012 with his book 'Dogs in Cars' and is working on a new heartbraking project 'Nice to meet you' where he worked with abandoned and abused dogs, portraiing them through a material or substance to reflect feelings of a very human nature.

I find my models on dog shows, I meet them when walking my pooch and by word of mouth. I have had my first customers so far and it is so rewarding to make my clients happy with the images I take of their pooches.

My studio set up is usually very simple, a black or white backdrop, two softlights from the front, placed right next to the camera and sometimes props to give the image a little twist. 

For this brief I have decided to hand in collages of my models to show the variety of their portraits and show their personalities and character. I have shown them to a few of my friends that didn't know the dogs and they could tell exactly which ones are clowns, really clever, intellecutually challenged, overall relaxed or full of energy and always up to something. I must admit, I am proud of the pictures I take. They make me happy and for me it's the most rewarding, fun and exciting job I can imagine. After looking for my 'call' for 20 years I have found it and I feel truely blessed.

The images I am handing in are the best I can achieve at that point in time. I have decided of having them in a very formal squared monochromatic style to reflect the sincerity and respect I have for my models. Applying the rules of human portraits to dogs. Because they are to their owners and to me as worthy of a serious portrait as any human being is.

I will certainly develope my style in the future and I have many ideas for projects and dog portraits I want to work on over the next months and years. I'd be the happiest person should I ever be able to publish a book with my work and I know it's a long way to go. Until I'm there I take my camera, work with animals and on other topics that I love and that challenge me and make the first baby steps in the professional world of photography. 

Montage - Me and the Pooches

Montage 2013

I have created his montage as part of my brief for college. With this montage I have combined memories of my childhood that lead to today and my plans and aspirations as professional photographer. 

It displayes a digitally photographed self portrait of me and my boxer dog Carlo (left) showing how close we are. Carlo helped me bearing with some very difficult situations in my life. He is my trusted and beloved companion who manages to make me smile even in darkest hours. He is a clown disguised as Boxer Dog and shows his unconditional love every single day (yes, also when he's digging out the daffodils in the garden). On the right hand side it's me aged 5 with my Boxer Dog Bianka. We were the best friends and I very often was found sound asleep with her in her dog bed or her shed in the garden. She helped my through the very ugly divorce my parents had. Recurring pattern: dog emotionally helping me by simply being around. Both photographs are very similar by showing me being close and cuddling with my pooch. I am currently setting up my own business combining two of my greatest passions in life: dogs and photography. 

For the image of baby me in the montage I have scanned (300 dpi, EPSON scanner) a b&w photography. To fill the gaps and smoothen the borders of the images I have added two layers of texture (treebark and moss). Additionally I have scanned a pigeon's feather I found on the street. I selected the image of the feather with the magnetic lasso tool in Photoshop and dragged it to my montage. There I copied it and transformed it with the free transform tool scaling it down and flipping it vertically and setting the opacity at around 70 % so they are visually not too solid in this image. I have arranged and assembled all the layers and images on a A3 canvas that I have created the very first thing when I started working on the montage.

On the layers of the tree bark and the moss I have worked with the brush tool (opacity 100 %, feathered brush) to reveil the images of me and my dogs that are underneath. 

I kept the image black and white since the self portrait and the scanned photograph of me are monochrome. I have tried a version with keeping the moss green but it looked like a sad attempt to viciously pressing some colour into a b&w image and made it look tacky. 

When I started this photography course in college I had never worked with Photoshop before and it was very hard for me to understand the principles of this software. Over the months I have become a bit more aquainted with it. I am still not a big fan of over-photoshopping. I believe in taking good pictures and tweaking and enhancing them a bit with photoshop but not in creating completely new images with it. Photoshop and I have come to terms and I start to actually know what I'm doing when working with it.

I have mentioned it because for that reason I find it difficult to evaluate this montage. I like the images of me with the Boxers and also the overall appearance with the texture and the monochromatic look. Although the feathers don't have anything to do with the statement of the montage I really like them as a connecting element. 

Probably a visually more 'russian' approach with cut out and scanned graphics of 'naive art' could have worked as well and probably would have added that extra bit of quirkiness that this montage might lack. But I honestly am not sure what is missing to make this an outstanding work. I probably will create a montage again just to train my Photoshop skills but I must admit, it is very unlikely that it becomes my favorite task within the world of photography. It's a fact: I don't really believe in constructed and overly manipulated images. 

Composite Images

Holly

Photoshop and me, a neverending no-love story. Although I start to feel I sorta get it, PS still is not my favorite software in this universe. Working on adding and experimenting textures to a very quickly shot portrait of Holly. Sweet Holly to me always seems a bit out of this world, a fairy from the woods that somehow ended up in Manchester. I have added photos of a cobble wall, tree bark and leaves and set the opacity really low and graduated a bit on the leavy layer. On added layer masks I have reveiled Hollys face with the brush tool. 

Still, I consinder myself a photographer, not a digital image designer. 

Brief - Studio Sessions

When it came to start working in the studio I was - like probably most of my fellow studens - nervous and feeling very uncomfortable with this kind of photography. I always felt more of a location photographer, was quite happy using the given light conditions and working with 'what I got'.

After several weeks of working in the studio now I am more than surprised to find out I feel even more comfortable with my camera in a studio than on site. Making this remark to my Tutor he simply answered (and rightously so) that it's because I have more control of what's going on. Meanwhile I have lost my fear of all the lights, power packs, cables, switches, triggers and the other things that make a studio a studio and truly enjoy and relax when I work in this environment. When I grow up I'd love to have a studio on my own.

For my studio brief I hand in 1 portrait of a living subect and 1 still life. Both with my own set up of lights. Additionally 5 images of my studio work we did in class. Let's start evaluating the latter stash.

Studio sessions in class

Study in glass, 70 mm, f/11, ISO 100, 1/125 sec

One session was dealing with taking images of glass. The difficulty is lighing it the way it looks 'glassy' and three dimensional, giving lots of highlights etc. As you can see in the reflection in the glass apple two soft boxes on the left and right fronting were used for this composition. I probably should have used more (silver) reflectors to bring out even more of the glass surface but I was happy with the way it was. The glass apple is a bit dark on the screen image but perfectly lit on the printout. I love the green reflection on the white glass. I have set the two objects a bit off centre in order to not have a dull centred image and it works well also with the reflections on the glass plate they were placed on. I am a bit (okay, very) unhappy about the dust on the table. Note to myself: always, always have glass cleaner with you when working in a studio. The image would certainly benefit from a clean surface.

Red Temptation, 50 mm, f/22, ISO 100, 1/60 sec

Yes, I love shoes. When we were asked to bring objects for a commercial shoot I didn't have to think twice. They are my favourites and I consider those high heeled platform shoes very seductive and feminine. To set them properly in scene I used a scruffy, rough root of a tree to visually enhance the elegance of the shoes with this strong contrast. I used two mid (matt) reflectors for the light settings. One lit the background the other one was situated on the front left of the subjects. I used a very narrow aperture to have everything crisp and clear in focus. To ensure a sharp image I have placed the camera on a tripod and used a remote shutter release not shake the camera while triggering off. I like the way the bright red of the shoes works in contrast with the texture of the wood. It may not be the most artistic image but it is a clear shoot that would work for commercial issues.

The Band, 50 mm, f/11, ISO 100, 1/125 sec

For the jewellery session I used my wedding band. It is made of titanium with a diamond as sparkling gem. Again a rough piece of wood was used as a background for a shiny glam object. John set the lights (again two mid reflectors, one lighting the background one the ring). Additionally I placed several silver foiled reflectors around the ring to capture the sparkle of the diamond and following the shape of the ring. In this picture I like the contrast of the wood with the ring, the spark on the diamond and the projection of the engraving. I would have preferred for this image that the ring wouldn't look so worn but on the other hand that's the idea of a wedding band, isn't it?

Lawrence goes Serrano, Mamya Medium Format, ISO 50, 1/19 sec

In one of the first studio sessions we got to use the Mamya RZ67, a medium format camera with an additional digital back. I instantly insanely fell in love with it and it is on my wish list since that day. We were given the task to take a portrait in Andres Serrano style. Andres Serrano is an artist mostly famous for his controversy work with blood and other body fluids using them in religious context. But he is also reknown for his very unique portraits. The camera is a waist level camera and slightly beneath the subjects face. Serrano uses backgrounds he handpaints very colourful (nasty souls might claim they look like 80s sofa prints). The combination of colourful background and the low position of the camera give his portraits a very iconic look. I asked my fellow student Lawrence to model for me since I like his very individual look. I have to admit, I only took one shot but was absolutely happy with this one. I don't believe in taking an unnecessary amount of shoots just to pretend to be busy but in getting the composition right and take the shoots when the expression on the face is appealing. John set the lights with two reflectors on the back ground and a long softbox as single light source to light the model. By the shadows on the face the viewer can see the soft light is coming from just one direction, modelling the face. I like this portrait very much. Lawrences expression and his longish hair do give him a bit of a modern day saint look.

Shells and Peas? Yes! Mamya RZ 60, ISO 50, 1/20 sec

There is not much to say about this image other that it is a very pretty still life. For the studio session on texture I brought in these shells I found last year at southport beach. I like the surface of the shells and the classic golden ratio the shells are famous for. Combined with some chick peas my fellow student Mina brought in alls arranged on a wooden plank from our tutor John's endless pool of wooden props. For this image two lights were used. One deep reflector lit the background and the other deep reflector was directed behind the shells and peas. I used several golden reflectors to direct the light around the shells to give some additional light into the shadows. The deep reflectors with their edgy light enhanced the texture of the surfaces of the board and the shells. I set a wider aperture to have a blurred background and isolate the shells.  I would consider this picture as very decorative, again, not the most artistic and bold image but very well executed and serving the purpose of showing texture.

Still Life with flower, Light settings by me

Red, 50 mm, f/1,8, ISO 100, 1/125 sec

For this still life I wanted a very clean, bright look. To set the buttercups in scene I used a white porcelain vase and some white cardboard as background. I took this shoot in my house on a beautifully sunny day. The room was flooded with natural sunlight I wanted to use as my light source. I mounted the camera on the tripod, used a silver reflector to direct light to the borders of the petals of the centre flower and released the shutter with a remote control so I could hold the reflector properly all the time. The set up and shoot is very simple but I truly believe this is one of the best images I have ever taken. I used the widest possible aperture (and lazily had the camera set to aperture mode to let it figure out the shutter speed) to isolate the central flower. I love the way the two other flowers are blurred and the splash of fresh green and have obtained exactly the look I was wanting. 

Portrait of a subject, light settings by me

Frieda, 105 mm, f/4, ISO 100

Frieda II, 55 mm, f/4, ISO 100

I do not only love shoes, I love dogs even more. Having had dogs since my very early childhood they were always part of my life and to me are the best imaginable companions. I wanted to take some true portraits of my and my moms boxers. I was aiming to capturing their personalities not just having a picture of a cute pooch. There are too many crappy pet pictures in this world and I want to pay them the respect to their personalities they deserve in the photos I take. Again, I wanted a very modern, clean look for these portraits so nothing would distract the viewer from the dogs. Therefore I have decided for a high-key setting and used a white background and set up two soft boxes (on dog's height which is pretty low) on the left and right in front of my models to have a soft light and no harsh shadows. I have mostly worked with an aperture of f/4 to bring even more of a portrait mood to the images. My dog Carlo clearly felt very uncomfortable on the paper ground and I had a maximum of about five minutes to get shots of him. After that there was no way to lure him back, no doggie treat in the world could make him getting there again. He patiently waited till Frieda was done with her modelling job. She felt so comfortable in front of the camera it was almost spooky. She sat on the spot I had directed her to and did some posing for me. To have a proper portrait level I was lying on the ground and as I was working alone moved my legs and feet over my head to keep her attention on me. After about 20 minutes with some breaks I had plenty really good shots of her and these two are my favorites. I am very proud of what I have achieved with these pictures. In my opinion they are not only well composed images with good light settings but are strong portraits reflecting lovely Frieda.

Studio set up:

Model's view on dog with escape attempt

Addendum Exteriour Brief - Bridges

Research Photographers in Architecture

As in my interior brief purposely I haven't researched on architecture photographers. Although I have always been very keen on architecture and therefore have seen plenty of images in my life I didn't want to 'spoil' my view on the locations I have chosen. Godfather of photography Henri Cartier-Bresson used architecture as a strong element in his work to frame or enhance his image. Another legendary photographer would be Eugene Atget who documented old Paris painstakingly. After finishing my brief I took a closer look on Daniel Hopkinson, a Manchester based photographer specialised in architectural photography. I am proud to say, that my approach on getting my images are similar to his work. He works strongly with the graphic elements of a building and also likes to include people in his images to show the dynamic and impact of architecture in everyday's life. 

Minigolf

'tis the season. Family, food, more family, more food. To get some distraction today I used some rare hours without rain and took some images of an abandoned minigolf course in the woods I have discovered the other day. Lighting conditions were a bit tricky but the hardest part was to keep two mad as hatter boxer dogs off the lens and motive. I quite like the outcome.