DOPE

Original Photo (below)

Crawley Futures - Final Photos

Before (original).

Cineworld dead.

Before (original).

Irony.

Before (original). 

Gatwick's 2nd Runway. 

I think I'm done?

Futuristic Edit 1

Photos to Shop

Blurring

Above: Original.
Below: Blurred.

Sqoose

I present to you, the sqoose (pronounced Skwoose).

Broken Glass Photoshop

ctrl + alt + g

Photoshop

My first ever Photoshop product! How rubbish.

Hot Keys

Lasso = L key
Quickmask = Q key
Modify the edge of selection = Select/Modify/Expand
Turn the selection into a layer= cmd/ctrl J
Move the Layer to another Photo= Move tool =V key drag to another photo
Scale the layer= cmd/ctrl T
Copy the Layer= cmd/ctrl J

And my second! Much better but still very basic!

Fashion Photography

2. To what degree should an image be manipulated to go into a fashion magazine?

With photo manipulation software and computer editing technology now an everyday tool for media publishing companies, almost all photos in all magazines are altered. Whether this be before the photo is taken or in post production, the image is still created for a specific purpose, which could be to create an emotional response from the reader perhaps.

Vogue, one of the leading fashion magazines, manipulate photos in many ways. Within their magazine, some of the photos are manipulated in a creative way. So the costumes, lighting, set and make up all create the image even before any digital image manipulation.  

Right: Tea party with dogs, a photo featured on The September Issue that evidently took a lot of effort to construct.

Some (probably all) the photos in Vogue are digitally enhanced before publication to suit the style of each theme and to try and present an image of perfection to it's audience. This applies to the front cover too, seeing as it's the first thing seen by anyone. 

In the film (The September Issue) they photo-shopped the head of the model from one photo onto the body the same model on another. They would probably argue that it’s not too morally unacceptable because it’s still the same person but others would say it’s not a completely truthful representation of how the model was. What could be seen as more morally outrageous is the fact that they air brush photos and digitally manipulate them. In the film they combined two photos together, then airbrushed them so it looked like one photo. It alters the truth of the situation. 

Below right: The front cover photo in question. Sienna Miller on the cover of Vogue, September 2007. (The body and head merge).

Take away the fancy costumes, make up, lighting and any other picture enhancing aspects, and even before any photoshop, the models are size zero. Now everyone knows that almost no-one in normal society is that small, which makes all the photo's misleading. It gives the public an unnatural, unrealistic view of a healthy body image. You could say that it almost hints that you must be really, really skinny to be successful and the viewer gets the idea that they should look that thin, almost unhealthy. You could also say that the models look like mannequins, but then that is probably the intention. Shops put mannequins in their windows to advertise their products, so the size zero body shaped models are just replicating such a familiar sight. 

What about plus size models? The only time they would use curvier women, is if they were well known in society, e.g. celebrities. But ultimately the only reason they would do that is to widen the profile of the magazine. Vogue America is yet to take a leap with larger women but Vogue Italia is one of the first high profile magazines to publish a plus sized woman on it's cover. Vogue's contemporary Elle Magazine has already done this plenty of times. 

Left: Plus sized models Tara Lynn, Candice Huffine and Robyn Lawley on the cover of Italian Vogue. The cover story within the magazine rejoices in amazing curves that larger women have and the sensuality that accompanies that. 

Tara Lynn, Candice Huffine and Robyn Lawley

So to conclude, any photo within a fashion magazine is constructed. The models are specially selected for the shoots. The costumes, settings, lighting and make up is all arranged for a purpose.

In a broad sense, Anna Wintour manipulates the whole vibe of the issue because she chooses what to publish. She can arrange it however she likes and doesn’t hesitate with her decisions, it’s either yes or no unless it’s fur, then it’s always a yes.

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Thomas Hoepker - 9/11

      Use your research to write a 500-750 word profile of Hoepker for a photography magazine. Write up your profile on Blogger.

Thomas Hoepker was born on June 10th 1936 in Munich, Germany. He began taking pictures when he was only 16. He used a camera given to him from his grandfather and developed prints in the kitchen and bathroom at his family’s house. He occasionally sold his pictures to classmates and friends for a little bit of money. At university he studies archaeology and art history and in class he got taught how to understand images and composition. After graduating got a job as a photographer for a German magazine where he got the opportunity to report from all over the world. After that he became a photojournalist for Sterm magazine. After that he was a cameraman for German TV making documentary films, documenting real life. He worked is his way up the careers ladder finally ending up as president for the company magnum who began distributing his work in 1964.

Hoepker is now 77 years old and he makes TV documentaries with his wife Christine Kruchen. His passion for capturing real life is still going strong.

So what about his most famous piece of work? Well this is debated to be it.

Thomas Hoepker took this picture on the 11th of September 2001. In the background you can see the major event that was happening at the time, the 9/11 twin towers terrorist attack. When the photo was first published there was huge uproar because to everyone, it looked like the subjects in the photo didn't care about the horror happening behind them. Although this perception was factually inaccurate, Hoepker personally withdrew the photo. Time passed and finally Hoepker chose to republish the image 5 years after the tragedy because the issue wasn't as sensitive to people, half a decade on, as it was to them on the day.

At a glance the photo makes it look like the subjects are just having a jolly time with no regard for the commotion happening behind them. This is further emphasized by the postures of the people. The woman on the wall seems relaxed, almost as if she’s sunbathing. The men either side of the woman are slouched and very informally positioned. The fact that they are all siting down shows that they are comfortably settled where they are, but that could be seen as if they have no regard for the catastrophe behind them.

The reality of the photo was that they were all strangers to each other, except the man and women furthest right on the wall who were dating at the time. They had all tried to get across the Williamsburg Bridge to help out with the incident but were refused entry so they had no other option than to sit and watch from a distance. They were all actually deeply affected by the situation but were completely powerless and it has been discovered that they were actually talking about what had happened, this further proves that they really cared. Walter Sipser (the man on the far right of the wall) was tracked down and has since quoted: ‘It was clear that people who ordinarily would not have spoken two words to each other were suddenly bound together, which I suppose must be a fairly common occurrence in the aftermath of a catastrophe.’

      544 words

Portraiture

Discuss the journey that Portraiture has taken over its' history. 

History of Portraiture

Portraiture is an art form depicting individuals or a group of people in a recognizable way. This includes painting, sculpture and photography. They generally represent someone's status within society, for example royalty were always in expensive finery with a dominating stance. Wearing armor would symbolize, a crown would symbolize royalty and so on.

Some of the first portraits discovered were from Ancient Egypt. Sarcophagus' and statues were modeled/drawn from real people, generally the more wealthy like kings and rulers. They commissioned these so that there they would be immortalized for everyone to see.They would always be portrayed in a positive way since the artists didn't have a choice. They wouldn't get paid if the artwork didn't end up how the client wanted. 

Above right: An ancient Egyptian sarcophagus.

By the nineteenth century the use of the portrait was changing. Society was becoming more literate meaning that books and words became more popular than painting when describing someone's appearance. 

By the twentieth century photographic portraits where taking over as technology advanced and pictures became sharper and more defined. They could be symbolic, artistic, formal or really any style at all. Celebrities and royalty could be shown in any kind of light with the photograph being an actual representation if them. No waiting in long sittings, a portrait could be almost instant. This was appealing and suddenly portraits weren't just for the privileged. All kinds of people had them done.

 
Left: The royal commissioned portrait of Catherine Duchess Of Cambridge.

Above right: The Queen on a £10 bank note.

Nowadays portraits are common place. The queen's portrait is on our currency, we have school photos done every year, photos in out passports, photos on our driving licences and any other ID cards we may own. Portraits are available to everyone whereas they used to be just for the well off.

Diane Arbus
Left: Diane Arbus self portrait.

Arbus always photographed in black and white squares. Her subjects were always "deviant and marginal people or of people whose normality seems ugly or surreal" (mostly giants, dwarfs, nudists, transgender people and circus performers). She looked for the strange and maybe even slightly repulsive things to photograph. She accentuated people's flaws and the things they didn't want others to see. To many she was known as the "the photographer of freaks". She refused to hide any imperfections, her work was 100% realistic.

Diane Arbus (1923 - 71) was born into a wealthy Jewish-American family. She married Allan Arbus at the age of 18 and spent the next 20 years working as professional fashion photographers. Her style then drastically changed quickly as she became fascinated with the weird things in the world.

In late 1969 she was commisioned to take the Matthaei family portraits. Konrad Matthaei (the father of the family) was a well-known television actor and theater owner surrounded by media attention. For two days, Arbus followed the family around taking pictures of everything, from meals, to the children playing with their new presents. She set up her photographs very carefully by removing obstacles and arranging people how she wanted. By the end of the two days she had taken 322 photographs, which averages at one photograph every two minutes, pretty impressive. All the photos represented her style and look on life. It was a vernacular photography (the photography of ordinary/normal things).

Above right: A picture from the Matthaei family shoot.

Walker Evans
Left: Walker Evans self portrait.

Evans was an American photographer who aimed to take pictures that were "literate, authoritative and transcendent". His best known work is probably how he documented the effects of the great depression. 

Walker Evans came from a good family and he was well educated. He went from studying french literature to joining the art crow in New York, quite a drastic career change. He began photography in 1982 and slowly grew in his profession. Then in 1985 came the great depression. He was employed for two months to document, through photography, what was happening in America at the time. Throughout that time he photographed families suffering. The images he produced were gritty and painted a very realistic picture of life during the great depression. The portraits exposed the subjects feelings and their appearance emphasized the poverty they were in.

Right: Allie Mae Burroughs. Evan's most symbolic photo of the great depression.

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Photojournalism (War)

Robert Capa
He worked for Life Magazine so he was sent places to take photographs by his boss. He thought 'war was glorious' but that's probably because he could easily dip in and out of the action/dangerous situations as he pleased. Motto: get close, then get closer.

Left: worked with a Leica camera.

His work was all about capturing reality.
He said that war was glamorous. But that's because he could dip in and out of the action.
He captured the invasion of Omaha Beach however they lost 3 out of 4 rolls due to being rushed when developing.

Right: Famous work - Death of a Loyalist Soldier (1936).

I chose this photo because it is very striking. There is something very special about capturing an irreversible moment. However this photo has been overshadowed with controversy. Many people believe the photo was staged. Either way, it captures a noteworthy moment and carries a powerful message behind it.

Tony Vaccaro

He was an American GI soldier. This meant he had to fight and take photos. He had to carry a rifle as well as a camera and couldn't dip in and out of the action. Because Vaccaro was always immersed in the fighting, he thought war was brutal and unnecessary. The standard issue camera at the time was the Speed graphic. It was too slow and not practical for a war zone so Vaccaro used an Argus C3. 
Left: Argus C3.

Right: Speed graphic camera.

Below right: Famous work - "German prisoner defusing a mine", Omaha Beach, Normandy, France (1945).

I chose this photo because it puts the subjects in a very vulnerable position because the shallow water and sand carry on way into the distance. They are the only two humans in the photo due to the framing. For all we know there could be hundreds of soldiers, weapons drawn facing the two men. I love the uncertainty of the image and the fact you don't get the full picture, only hints of what may be happening out of shot.

Eddie Adams

He was a combat photographer in the United States Marine Corps. He also has photographed for many well known magazines such as Vogue, The New York Times, Vanity Fair, Newsweek and TIME.

Below: One his most famous pieces is 'Saigon Execution' (1968).

The video footage of the moment is not really very hard hitting because the incident is over within a few seconds. However the photograph captures the moment in a very powerful still image. It captures the look of fear on the victims face as the bullet enters his skull.

Adams won the Pulitzer Prize for Spot Photography and the World Press Photo Award for the shot (no pun intended).

453 words

Photojournalism - Part 1

Photojournalism - Explain what it is.
Taking photos for a news story. Used a lot in the war especially by the Russian's because most of the country were illiterate.
 
Henri Cartier Bresson -

Why is he famous?
He had the ability to be in the right place at the right time so took some very famous shots (e.g.a decisive moment).

Why is his work significant in Photojournalism?
He captured a lot of shots from the war. This led to people asking what the war achieved, other than bloodshed and destruction.


Find and upload to your blog some work of theirs.
 

What Camera/Technique did he use?
Leica camera (very advanced for the time).
He set up the shot and waited because he knew life would enter the shot at some point.

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