People and Place. Project 1. Ex. 1. Portrait Scale and Setting.

                                           First selection of CLOSE, SHOULDER,
                                            TORSO and FULL portraits.

                                     Final Selection CLOSE UP.

                             Shows a contemplative quizzical expression.

                                      

                           Final Selection  HEAD and SHOULDERS 

                                     Reacting to the photographer 

                                          Highlights in the eyes

                                    Final Selection TORSO

                                   Engrossed natural position

                             quite forgetful of the photographer








                          Final Selection. FULL LENGTH.
                          I like the slightly humerous look
                          of glasses cockeyed and 'what do
                           you want now' expression.

People and Place. Project 1. Ex2. Thinking about Place.

Sites have been selected that would provide
 neutral or muted backgrounds and/or frameworks
for a full length body image.
Those shown here vary, some with heavily vertical
 and horizontal fluting, doorways, a seat and a
background of foliage.
The natural lighting and time of day must be taken
 into consideration when considering any of these.






The image I prefer here is that of Nikki (6028812).
Both images contain strong shadows.
The background of (6028837) includes too much
distracting detail and strong shadows.

People and Place. Project 1. Ex 3. Experimenting with Light.

  L:ight from top left. Over bright lighting on
top of head. A reflector has lightened the
shadows on the left hand side of the face.











Light from top right but because of the
angle of the head is equivalent to a direct
above light. This creates heavy shadows in
the eyes,and other features of the face.




Here the lighting is approximately at
45 degrees to the model lighting most
of the right side of the face and creating
heavy shadows under the nose and chin.
A reflector low on the left hand side of 
 the model would softened these.                                                                                                               



Light low down on subject's right.
This has created highlights on the
right side of the face. A white card
has lightened the shadows on the
left.

People and Place. Project 1. Ex. 4. An active portrait.

The direction of light is not good
for him but is adequate for me as
the photograher.

People and Place. Project 1. Ex. 5. Eye Contact and Expression.

Not exactly a Tom Cruise but there was an
 empathy between us, something clicked
besides the shutter.

People and Place. Project 1. Ex. 6. The Best of a Sequence.

The subject, Carol, was asked to make a
'phone call, keeping the 'phone away from
her face as much as possible.
After the first shot I told her she could
move as she wished, stand, sit, swing, turn.
The wind gave life to the image.
I decided to stop at 736. The subject was                HEAD
anxious and tense.
I took a total of 54 shots and have selected
the best into 2 categories, HEAD and FULL.







I considered the best at the time of shooting
to be Head698 and Head716.
After further consideration Full711.


Analysis:-
698  Good
705  Acceptable
710  Unusual portrait but lively shot.
711  Best
716  Good
717  Good
718  Not good
719  Not good                                                      FULL
724  Acceptable
728  Not acceptable
734  Not acceptable
735  Acceptable
736  Not acceptable

People and Place. Project 1. Ex. 7. Focal Length and Character.

The effect on the image, if discernable, is not due to the use of different focal length lenses but due to the perspective change brought about by the varying distance of camera to subject.
To maintain a constant image size the focal length of the lens must change if the subject to camera distance changes.

A long focal length will in theory compress the features of the subject whereas a short focal length - a wide angle- lens will exaggerate the perspective and create usually an unwanted distortion. For a head portrait this does not pose a problem until you are uncomfortably close to the subject. In a full length shot the problem of distortion can be more acute. If the subject is sitting or gesturing the subject will have greater depth and the photographer must ensure that the limbs involved do not appear enlarged or distorted by choosing an adequate distance from the camera.
In practice the use of a particular lens will depend at least on one or more of the following issues:                
1)  The space available in the 'studio'. (I would prefer to mount the camera - usually limited by the room size- as far away from the model as possible. If you had the privilige of using a professional model, this wouldn't be a problem.)

2)  The size of the subject - head or full length.
3)  The amount of background you wished to include.
In my examples I have used a manequin head. It has all the features necessary to demonstrate the changes caused by variations in camera to subject distance. Sam - that's her name - is bit short of hair but doesn't figdet. The camera height was set to the centre point of the face and I tried to ensure that both sides of the face were equally in view as the camera was moved towards and away from it.
In my opinion there is little significant change in the image until the distance is approx. 1/2metre (36mm lens equiv. 35 mm film). Here the image change is not due only to change in perspective but also because the camera is so close to the subject that the lens can't see the ears.
Commencing with top image and working down:

1)  Distance 3. 0 metres.  300mm equiv. lens.  Apart from the jaw line

     the face is rectangular.

2)  Distance 2.0 metres.  150 mm equiv. lens.  The face is assumming

     more ovality.

3)  Distance 1.0 metre.   80mm equiv. lens.   Slight triangulation of the

     cheek to jaw. Lip shape subtle change.

4)  Distance 0.5 metre.   40 mm equiv. lens.  Further triangulation of

     jaw to cheek line. Narrowing of forehead. The lip expression has

     changed into a slight smile.

People and place. Project 1. Ex.8. Varying Pose.

                       Utmost concentration

Project 1. People and Place. Comments on Assignment 1.

Project 1.

Assignment 1. A Comprehensive Portrait.

Response to tutor’s assessment comments.

Dear Tutor,

You want jam on it!

As I said to you before whoever designed this assignment must live in

cloud cuckoo land. After many moons of trying to tempt somebody to pose for me -

particularly when I mentioned that they would need to be committed to five separate

sessions- upsetting the local hairdresser and nearly being charged with accosting

a maiden in the street, Carol, a neighbour, kindly agreed to sit but only for two

sessions. Some years ago she had done a little modelling work so was familiar with

the process.

The camera was mounted on a tripod and activated by a long remote cable

and positioned about nine feet from the subject. This I hoped would take the

camera out the attention of the model and direct the model’s attention

at me as I wandered around outside the critical area making faces at her

as I gave various directions and fired the camera. The backdrop was

about three feet behind the model sufficient to ensure, with the aperture

I was using ,that the creases were not obvious.

Two lenses were used , a medium telephoto set to 110mm - 35mm film

equivalent and a wide angle set to 40mm - 35mm film equivalent.

The lighting setup was a remote flash head with a softbox, triggered

from the camera,and one reflector used on the opposite side of the

face to the flash head.

I managed to generate a relaxed situation firstly by a glass of wine out

of view but within easy reach by Carol. (Unfortunately the bottle is

on display in one of the other shots).

I let Carol pose as she wanted taking shots when I thought it worthwhile

and occasionally directing her to a particular mood. I think the sessions

went well – and we’re still friends! I did not try to cosmeticise – is

that a word – the images, shot both sides of the face but selected those

of the right hand side which shows her aquiline nose to the best advantage.

When taking the full length shots I asked her to uncross her legs which were

extended forward sufficiently to cause distortion of the image.

Her ‘Patience’ mood was a genuine one occurring after she asked me to

‘stop fiddling with the camera’.

I was lucky to have her as a model rather than a wrinkle free youngster.

A portrait is more interesting with a face that has a few years of experience

etched into it.

I agree the natural place for the ‘Tiredness’ one is at the end of the collection

even though I wasn’t trying to link the various moods.

People and Place. Project 2. Ex.9. A Comfortable Situation

A selction of near and far shots.
I am more happy in a crowd and venue
where cameras are to be expected
and are on view.

People and Place. Project 2. Ex.10. Moment and Gesture.

The top image wasn't too difficult to
anticipate.






The subject in the lower image looked
unsettled and tense. I managed to shoot
at the right time.

People and Place. Project 2. Ex.11. Standing Back.

4 Images taken with a long lens.

People and Place. Project 2. Ex.12. Close and Involved.

Some subjects were aware, others
were not.

People and Place. Project 2. Ex.13. A Standard View

                             Standard Views

People and Place. Project 2. Ex.14. An Organised Event

                                                                     First Selection

Hare Krishna Festival of Chariots.

Hare Krishna is a sect of the Hindu religion

that worships Vishnu. To celebrate this

religion, each year, 3 chariots representing

the 3 deities of Krishna - Jagannatha, his half

 sister Subhadra and Balarama her brother

are assembled in Hyde Park and are pulled

by many devotees through the streets of

London to Trafalgar Square. The chariots

are preceded by dancers and devotees

sweeping the streets.

On the day Trafalgar Square was decorated

with many booths in which members were

demonstratingvarios aspects of the Hare

 Krishna and the Hindu religion. These included

 Indian dancing and singing, religious makeup,

facial decoration and instruction on the Hare                                           Final Selection.

Krishna religion.

Free vegetarian meals were provided for

those who were enthusiastic enough to

queue for them.

In this selection of images I have tried

to convey this general atmosphere.

                                                                                                                                                   

People and Places. Project 2. Ex.15.Public Space Public Activity.

Covent Garden

Site used for many years as a vegetable

fruit growing area for a local convent.

It first became a square or Piazza in

the 17th century under the influence of

Inigo Jones.

The present development was created

 in 1830 by Charles Fowler and served

 as the main fruit and vegetable market

of London for many years.

In 1973 after the main London market

was moved to Nine Elms, the site was

 saved from demolition and redevelopment

by the efforts of the local residents.

The site was renovated, small shops and

businesses introduced.

It is the only area in London licensed
  for street entertainment.

  

          

Building and Spaces.. Project 3. Ex. 16. Exploring Function.

Entrance Foyer to large gallery of Art.

An individual entering from the far right,

 at first on being exposed to the large

 open space will feel a bit lost.

However he or she will be drawn by the

 bright overhead light to the staircase on

the left which will lead them to the main

picture gallery.

On returning the now weary individual

is now presented with a comfortable

bench on which to relax. The open space

providing visual space for the seated and

and easy movement for the mobile.

People and Place. Ex.17. The User's Point of View.

Exercise 17. User's Point of View.

Crypt Restaurant.

This restaurant has been created in the crypt

 of an old church. Inevitably only surface renovation

could be carried out - the huge pillars supporting the

church above had to remain. The tables have been

 placed in the only available space between the
pillars. This provides areas for intimate groups
but restricts the view of the general diner to a
few feet which is isolating and claustrophobic.

Gallery.

A well lit viewing area, the light entering through

the ceiling creating a diffused light onto the

paintings. Adequate space is provided to move

around the perimeter of the room and

 comfortable seating areas are located in the

centre. Here one can rest one's feet and perhaps

contemplate the the skills of the masters or

perhaps wonder how the same standards can

be achieved with a compact camera.

Chapel.

This view is from the pulpit. A small personal

 chapel softly lit from one side. It is sparsely

furnished. Sufficent space is present between

seats which enables worshippers to be with

but apart from their neighbours. There is a fluidity

in the chair spacing. A quiet contemplative area

which works.

People and Place. Ex. 18. Space Changes with Light.

Exercise 18:
              How Space changes with Light.

1) This is early morning light with a hazy sun.

The space is a simple memorial site to give

respite to weary walkers. I think the inverted

pots, placed there to possibly further define

the space, are over dominant although this

effect is further emphasised by the use of a

wide angle lens.

The dark background could be a little

off  putting.

2) Here the sun has moved and strengthened.
The background has lightened and more
visual warmth has been given to the scene.

3) A considerable contrast to the other two.

This is an evening shot. The space is lit

solely by a street lamp.

I can't imagine who would want to sit there

except for some nutty photographer

with a heavy tripod.The space has foreshortened

 a little.

The soft shadows add appeal to the space.

4) This was taken at the same time as 2).

The different viewpoint has emphasised the

shadows and exaggerated the shape.

People and Place. Exercise 19. A Single Figure Small.

Ex 19. A Single Figure Small.

People and Place. Exercise 20. Busy Traffic.

Exercise 20.
       Busy Traffic.

People and Place. Exercise 21. Making figures anonymous

Exercise 21.

        A Single Figure Anonymous.

A selection of 4 images using different techniques.

People and Place. Exercise 22. Balance between Person and Space.

Exercise 22.
Balance between People and Place.





Here the people are a smudge
of colour in the distance having very
little effect on the overall image.










In this shot the people are a much
more dominant part of the image.

People and Place. Project4. Ex.23. Selective Processing.

                                                
  

Exercise 23.
        Selective processing.

                                 Original.











                              Processed