North East Stories- Research- Nan Goldin

Nan Goldin is know for presenting her work in a form of a slide show, she based her early work around love, gender, domesticity, and sexuality; these frames are usually shot with available light. She has affectionately documented women looking in mirrors, girls in bathrooms and barrooms, drag queens, sexual acts, and the culture of obsession and dependency. The images are viewed like a private journal made public.

Goldin published The Ballad of Sexual Dependency in 1986 along with help from Marvin Heiferman, Mark Holborn, and Suzanne Fletcher, as a “visual diary” of a close group of people Goldin referred to as her “tribe”. This book contains a large selection of her photos including a forward written by herself. In this forward she describes this book as a “diary [she] lets people read”. The photos show a transition through Goldin’s travels and her life. In the end of her writing Goldin includes a small dedication “to the real memory of my sister, Barbara Goldin”.



Ive looked in Nans The Ballad of Sexual Dependency. I find the pictures very dark and to me it feels sordid and like a drug den....which thinking may be how is suppose to look from the word Dependency from the title. From the few photographers ive looked at im not a fan of the colours as it seems very orange and dark and the lives they are showing are very depressing. Not everyones life looks like this and it just makes me wonder why people always want to take photos of the lifestyle they are portraying in the photographs.....of course these pictures are from the 1980s whos to say if i take these type of photos someone in 20 years time will think mine look dark and depressing.

North East Stories - Research- Tom Hunter

Looking at some of the storys he has done. To me it seams the bacgrounds are all similar but its the people that are changing in the pictures. But this helps him with what i feel shows a way of life for the people that he is following for instance i liked his traveller story. It all looks very dark and depressing but the caption he put with the story tells you thats not how they feel about their life.

"These portraits were taken between 1997 and 1999, when I traveled and lived in a double-decker bus in England and Europe. In these photographs I set out to not only document the life and times of my friends and fellow travelers but to give them dignity and show a rich and beautiful lifestyle."

North east stories

Well I have been giving my new project which is to do with the North east. At first glance at the brief you could say I was panic stricking as my first thought is I would need to take pictures of landmarks and I feel that this type of photography is not my strong point, I am more of a people photographer. At closer inspection the title of the brief is North East Stories which has got me thinking what better story to follow in the North East than my own, after all ive lived and breathed in the north east since i was born. If I think about it ive had connections and links to parts all over the area. So I should be able to get a good coverage. Now the only problem I have is how to take the photographs are they more of a land mark type story or am I going back towards a sort of street photography type story with the photos. Since most of my memories are seen through my eyes im not sure how to approach the style, but I guess this is what research is for.

Portrait Research- Self Evaluation

My Portrait project has been an interesting one learning about studio and how important lighting is. Sometime the lighting seamed more important than the pose because if the light wasn’t right then the picture isn’t as fantastic as it could be. For 2 of my final prints ive focused more on the face as to me that’s what i feel portrait is about. I experimented with different types of lights, shadows and distance from my subjects to see what would be my desired outcome. I’m not sure if i can say i was influenced by any of the photographers i researched, As it was more a trial and error kind of thing. 2 of the photos i have taken look like they have taken influence from Terry Richardson but I’d done the photos before i got to him in my research, but i was happy to see that, that style was used as i was unsure whether i could call them a portrait. I do think i have met the requirements of the brief. I do feel happy with what i have done and achieved with the brief, i do wish i had had more studio time as i missed a few lessons and i think it hindered me in a way and i probably could have gotton a lot better photographs. The only problem i seemed to have, has been with capture one and it was importing photos on and then trying to get them into jpegs and tiffs and on to my desktop. I overcome this by getting some help off another student and following some help videos on you tube. Which resulted in the desired outcome and i got myself sorted in the end. I do still find capture one confusing and i feel a little lost on trying to achieve certain things in this programme. I very much have given myself deadlines during this project to make sure i had enough time to get everything sorted and sent to the printers so i had it back on time for the hand in date. I feel i now more more about studio lighting and how important it can be, i had lots of fun doing this project and at times felt like a profession photographer and other times i felt like a model. I felt the assiment challenged my techniqually as the capture one i felt very confused with and all the different types of lighting and using the light meters also learning how to get the different lights in the background of the pictures. If i could start again i would try and do more studio lesson as i really feel this has let me down. 

Professional Studies

As well as the fashion photography I was looking into as a career, Im finding myself and my ideas leaning more towards some kind of fantasy photography all my ideas have some sort og migical look towards them. Ill look into this type of photography to see if there is anysort  of a career into doing these type of shots

This is a couple of examples to show you what i mean by the fantasy type photo shoots. I love making things magical so this is another direction i would like to look into. Its a good job i still have 3 years to look into this.

professional Studies

How to Become a Photographer for a Fashion Magazine

Edited by Leopard217, Flickety, Snoopdog, Girly99 and 2 others

Imagine yourself directing a lighting and set crew as you work on capturing the right image of the current "It Girl" making the latest fashion statement. Do you see yourself working for Yves Saint Laurent, Betsey Johnson, or J.Crew? Do you like traveling to Paris, New York, LA, and Milan? Follow these steps, and you may be on your way to becoming a fashion photographer!

1

Become a practicing photographer. To be a fashion photographer, you will need expertise in photography, particularly in the latest medium- and large-format cameras. Knowledge of studio lighting is also a must.

2

Acquire in-depth knowledge of the fashion industry. Know your magazines, websites, models, designers, latest trends, and even the history of fashion. The more you can talk knowledgeably about your passion, the more infectious it will be. Plus, the more detailed your knowledge of the industry is, the more you will be able cook up ways to find inroads into it.

3

Surround yourself with other photographers. The more you connect with people in your field, the more ideas you will get. You may also find yourself partnering with fellow photographers on collaborative projects. One thing always leads to another.....

4

Surround yourself with people in the fashion industry. Become a known quantity, so to speak, in the world you are targeting. Perhaps your cousin knows a buyer for Bloomingdale's, for example. Maybe a friend of a friend knows the friend of a model for Tom Ford (or Tom Ford himself!). Follow the lead, no matter how indirect it may be. Networking is key.

5

Seek out young designers. You never know who will be the next rising star. Do not shy away from working for some people for free. This will allow you to develop your portfolio and support another emerging artist. Perhaps you will reach to fame together! Leave no stone unturned.

6

Make sure you have a solid, impressive, and cutting-edge fashion photography portfolio both in print and online. If necessary, consult with experts in your field on how to make your photo portfolio as professional as possible.

7

Join forums for fashion photographers or start your own for photographers looking to get into the fashion industry.

8

With your winning portfolio and effective contact pool, you should be well on your way to becoming a fashion photographer!

I got this from a website http://www.wikihow.com/Become-a-Photographer-for-a-Fashion-Magazine

Portrait research -Printers

We have to get our pictures printed and we were told about 3 different one digitalab, printspace and anotherone i cant remeber. Gill showed us some samples from printspace and after seeing another students work  i decided to go with them. I found uploading the images very easy and i managed to upload them on a tuesday night after 6.00 pm. I got a surprise when i got an email off printspace on Wedensday just before 3.00pm telling me my prints had been dispatched. So i was very impressed and pleased. When they came they were well boxed and protected so that leaves me nearly ready to hand in on friday now just a few bits and bobs to finish off now.

Portrait research- Final Prints

I must admit im a little disapointed with myself on this project as i had a few problems with my younger daughter so did only get in for one day in the studio taking picture so i had to choose the 3 i thought was the best on the day. So i didnt get to experment around with the lightening as much as i would of liked.

The above picture is of the lovely Shanon. I wanted to get up close and personal when i took these type of photographs. I stoad on a chair and pointed the camera down on my sitter so they had to look up at me. I am really pleased with how this photograph has come out.

Again this is the same as i did on the above picture with me standing on a chair so they would have to yook up at me, but the difference with this picture is i altered the light slightly and the way her head tilted created a nice shadow so im im also pleased with the way this one turned out aswell.

Because i only managed a day in the studio i didnt really have the photos to make a set of 3 so i like how i caught Candice here not posing, She was having a look aroundd while i was trying to reposition the camera so i was a little closer and she just turned her head. I would call this a lucky shot as the lighting around her looked great and with her not posing i think it adds to the photograph. I was really pleased when i took this shot and was no dought going to be in my final prints.

Now because i had 2 close up photos and one a distance i wanted to make them look more of a set so i wanted to include this photo i like it and think the writing on the hat it goes with her personality. I also think its a fun shot and not serious look all the other ones have been like. But looking at the print ive had sent back from the printers its come back really blurry so im not sure it the picture is blured and i just have noticed it till it got blew up to A3 size or there has been a problem at  the printers so i may not be able to hand this in after all but i wanted to include this on my blog so you can see why i wanted to add it to my final prints.

professional studies

Today Jill showed us what she has in her camera kit, I was very intrested in this as im looking into starting my own. I found i liked the shape of one of the cameras she owns and ive decided i may like to look into buying a similar one for myself. Listening to what she had to say I relised im not really ready to go out and buy a camera i feel more research on this subject needs to be done. I was also looking at canons 100D and 600D, the only proplem is i have a problem with one of my wrists and i was thinking about the weight and if it would cause me problems. So i have started to look at the weight and if for instance the camera Jill has where you look down into would be a good camera to buy for that problem, also the canon 100D is a smaller lighter camera that works just as good as the other ones but my worry is it may not look professional enough.

Portrait research- Studio Lighting

"Trust" captured by Adrian Adrianus (Click Image to See More From Adrian Adrianus)

Hair Lights, Back Lights, and Barn Doors, oh my! Studio Lighting can be very overwhelming when you first start getting into it. Some photographers out there have thousands of dollars of accessories associated with their studio setup. The good news is, you don’t have to be rich to enter into the world of studio portraits. Think about it. How many light sources did God create for earth? If you said “One” meaning the sun; you were almost right. He also created the sky and the ground to “bounce” that light into the shadows. Light that is bounced back is commonly referred to as a “fill light”. If there was no fill light on earth; anything not directly lit by the sun, would have NO DETAIL, it would all be totally black.

It is astounding how much you can do with one main light and one or two fill lights. For those of you thinking three lights doesn’t sound simple to me, let me clarify. In this article what I am describing is one light and one or two reflective surfaces to help bounce that light or to fill in the shadows. With one light and one or more reflectors, you can make amazing photographs.

Having the tools and knowing what to do with those tools are two different things. Today I want to show you what to do with these basic tools.

1) Short Light is the type of studio lighting setup, where the face side of the subject which is the farthest from the camera gets the main light. In this type of lighting setup, the side of the face which is toward the camera gets less light then the side facing away form the camera. The effect you get when using this lighting setup is a thin face, this is why it is good to photograph large (or chubby) people with a short light setup. A photo tip worth remembering is: short light helps to visually thin your subject.

2) Broad light is just the opposite of Short light. In the Broad Light setup, the side that is getting the most light is the side facing the camera. This setup is less commonly used for portraits as it tends to make people look chubby. In both these cases, you can place a reflector on the opposite side of the light (at about a 45 degree angle) to help fill in the shadow side.

Photo captured by Hugh O'Malley (Click Image to See More From Hugh O'Malley)

3) Split Light sounds more complex than it is. Position your main light on one side of your subject so that it’s exactly 90 degrees to the subject. In other words, you will see a dramatic shadow going right down to the middle of his or her face. If your main light is a flash, you might want to consider a secondary light; not for exposure . . . but just for light placement. We call this small secondary light a modeling light. In some units, they actually have a modeling light built in around the main light, so you can visually see what’s happening.

Using the modeling light, make sure the line between light and dark runs directly down the center of your model’s face, right down the tip of the nose. The model should be looking directly at the camera. This is what we call a split light portrait. Another photo tip is this: split light portraits, create dramatic visual results.

4) Rembrandt Light is considered an artistic classic. The main light is positioned high and on the side of the face that is away from the camera. Generally the subject is placed at a 45 degree angle to the camera (as opposed to just looking straight on.) This technique produces an illuminated triangle on the cheek closest to the camera. The triangle will illuminate just under the eye and not below the nose. The face should appear illuminated on one side and heavily shadowed on the other.

"Untitled Portrait" captured by Igor Umansky (Click Image to See More From Igor Umansky)

Place your reflector (or white poster board) on the opposite side of the studio light. The reflector should be angled so that it reflects any remaining light in the room to the subject’s darken side. The key here is NOT to eliminate the dark shadows, but to add detail within the shadows. The third photo tip to remember: adding subtle detail makes images appear more artistic.

5.) Butterfly Light is achieved by positioning the main light directly in front of the subjects face and adjusting the height to create a shadow directly under, and in line with the nose. This style is best suited for subjects with a normal oval face and is considered to be a glamour style of lighting best suited for women. This lighting technique creates hard shadows in the eye sockets and under the chin depending on the size of your main light and distance to your subject. Use a reflector under the main light source to fill in the underside of the face (eye sockets, under nose and under chin areas). Sometimes this is referred to as “over and under lighting”.

Now the setups given above; can use extra lights, but they don’t have to. Just as you can take an award winning photographs with a $50.00 camera or a $5,000.00 camera, you can also take great shots with a single light source. As we mentioned before, having the tools and knowing what to do with them are two totally different things.

"Low Key Studio Setup" captured by Chuck Walker (Click Image to See More From Chuck Walker)

It is my firm belief that photographers who learned to master Black and White photography first and then learned Color photography; will ALWAYS have the advantage over those who started with color photography. This is not meant to insult younger photographers. If a cake taste bad, it doesn’t matter what kind of icing you put on it. Learn the basics of good photography first, and then you can add more lights, more lenses, or whatever the case may be. Thus the fourth photo tip to remember is this: start with the basics, master them first. Then go forward.

I got this info from this website http://www.picturecorrect.com/tips/photography-studio-lighting-setup-tips/

Professional Studies- Make up artist

I have signed myself up for another course, which i think will help me in my career choice and hopefully give me a step up from most people. I am also wanting to do this extra course as i am sick of being let down by people so if i can do it myself i wont be let down in that area. I am doing a short course in professional make up i have had to go for the 5 month course as it mean i have to go and learn 1-5 days a month which is better than having to do it all in one go. I have managed to start this course after my essays and reports are in so the end of march through to the end of august so my work loads is more manageable and i have the time over the summer holidays to complete my course which i think is perfect. I have gone back through student finance to fund my  make up course which has been accepted. So because it has to be a certain type of course i have to do some things i dont think are nessecery for what im wanting to do, but im not saying they may not be needed. I am doing a NVQ Level 3 and Diploma in professional make up.


This The Professional Make-Up Artist Course is designed for those who wish to learn all the basic professional make-up skills up to bridal and special occasion level, including day and evening looks. This course is designed for complete beginners looking for a career in the lucrative make-up industry.
During this course you will start by learning the key skills required to succeed in the industry and be inspired by our make-up artists to move forward and discover other areas of make-up artistry.
Following analysis of face shape, you will learn how effective make-up techniques can correct skin tone and enhance facial features. You will also be able to recommend and style the best brow shape to create a well-groomed appearance for your client.
The course is very 'hands-on'. Your tutor will demonstrate various techniques to you and you will have lots of practice time.
During the training course you will use a wide range of top-branded make-up (MAC, Illamasqua, Bobbi Brown) and skin care products (Dermalogical).
The Professional Make-Up Artist Course will cover:

• Tools of the trade
• Skin analysis, face shapes and skin tones
• Colour theory
• Preparing and priming the skin
• Colour correcting and concealing
• Selection and application of a range of foundations
• Understanding highlighting and contouring
• Creating the flawless finish
• Creating the perfect lip shape
• Understanding different eye shapes
• Application of eyeliners including liquid, crayon and kohl
• Application and blending of eye shadow
• Perfect mascara application techniques
• Bridal and day make-up
• Vintage bridal make-up
• Application of strip and flare lashes
• Smokey eye techniques using nudes/neutrals and dark shades
• Working with pigments
• Brow grooming- shaping and definition to create the perfect brow shape
• Airbrush make-up application
• Red carpet glamour suitable for evening and special occasions

This course is a pre-requisite before moving on to the Creative Diploma in Fashion and Media Make-Up.

You will be taught by a professional make-up artist who will show you their portfolio of published work and explain how to achieve the latest high fashion photographic looks.
Fashion make-up is an exciting, fast-paced aspect of make-up artistry. Trends change very quickly from season to season. You will receive demonstrations from an experienced make-up artist who will teach you how to adapt your techniques accordingly. You will learn how to provide creative and distinctive looks for catalogues, magazines and high-fashion publications under the guidance and constructive critique of your tutor.
The second part of the course focuses on catwalk make-up. As the make-up needs to be noticed from a distance, the look is dramatic and striking; very different from the high-precision techniques required for fashion/photographic effects. You will learn everything from natural through to dramatic looks to enhance and complement a model's outfit.
During the Creative Make-Up Training Course you will learn:

• Iconic make-up looks (1920's-1960's)
• Creating a mood board
• Make-up for black and white photography
• High fashion make-up for colour photo shoot and Catwalk
• Avant Garde make-up

During the course you will have the opportunity to photograph your work for a portfolio.
Career options following the Creative Make-Up Training Course include department store counter, bridal make-up, television work, film, television commercials, print, music videos, live performances, advertising material, fashion shows.

Fantasy Eye Designs For Media Make-Up Course Covers:

• Animal print eye designs
• Freehand lace work
• Masquerade mask designs
• Application of glitter
• Application of stencils

By combining the use of powders, paints and stencils the Fantasy Eye Designs for Media Makeup Course will enable you to create some stunning designs suitable for striking evening looks, proms and festivals.
The same techniques can be added to your make-up when working on media assignments.
You will be shown how to work freehand and to incorporate stencils and glitter to enhance your designs.
Animal prints, various textures, flowers and masks will be shown in this course.

All the details above are what i will be training in. I will also be training to do Tanning and Eye lash extensions. Im excited and think this will be extremely handy to know how to do.