Assignment 3: A Change of Plan
Tuesday 1 March 2016
Costings
New idea - actually more of a unique approach - anxious as to how to still let photography take precedence in images
New plan: stick with same characters, planning locations
New idea - actually more of a unique approach - anxious as to how to still let photography take precedence in images
New plan: stick with same characters, planning locations
- church
- castle (suggested by a friend)
- arts lodge
- marwell zoo
- south sea beach
- aquarium
- rose garden
- archery field (still awaiting contact)
- potentially hms nelson if can acquire access
- victoria park
- guildhall steps
- Middlesbrough library
- canoe lake
Assignment 3: Finalising & Purchasing First Outfits
Sunday 21 February 2016
Searching online
Ariel
Elsa
Alice
Merida
dresses
Organising shoots - noone free
Ariel
Elsa
Alice
Merida
dresses
Organising shoots - noone free
Assignment 3: Initial Ideas, Planning & Moodboards
Monday 15 February 2016
Mind Map
Characters
Locations - rose garden, archery, local park, arts lodge, guildhall steps, middlesbrough library, aquarium, south sea beach
Models - friends, local modelling agency, bloggers (leigh)
Outfits - sources - ebay, charity shop, research ex-theatre outfits
(See docs list)
Moodboards for Alice, Belle, Snow, Elsa, Merida
Overall concept: casual disney characters, slightly more bohemian look (dreadlocks, flower crowns, lace outfits etc). "dark" but a bit feminine - eery.
Characters
Locations - rose garden, archery, local park, arts lodge, guildhall steps, middlesbrough library, aquarium, south sea beach
Models - friends, local modelling agency, bloggers (leigh)
Outfits - sources - ebay, charity shop, research ex-theatre outfits
(See docs list)
Moodboards for Alice, Belle, Snow, Elsa, Merida
Overall concept: casual disney characters, slightly more bohemian look (dreadlocks, flower crowns, lace outfits etc). "dark" but a bit feminine - eery.
Assignment 3: Pop Culture Inspiration
Sunday 7 February 2016
Once Upon a Time - TV Show
Historically Accurate Disney Princesses - Buzzfeed
Historically Accurate Disney Princesses - Buzzfeed
Assignment 3: Initial Research
Thursday 4 February 2016
For assignment three we have been asked to initiate our own themes/photography genres/styles and produce 30 final images in accordance with those choices.
As stipulated from very early on in my blog, I have a keen interest in fairytale themed photography and would like to explore this further in assignment three.
As stipulated from very early on in my blog, I have a keen interest in fairytale themed photography and would like to explore this further in assignment three.
Annie Leibovitz - Celebrity Disney Characters
Interview With Andy Green
Wednesday 13 January 2016
1.Tell us a bit about yourself
Andy Green. I was born and bred in Teesside and studied classics (ancient languages and
culture) at Oxford University in the late 70's/early 80s and then an MSc in IT at Teesside
University. For most of my career I have work as an IT Solutions Architect or Consultant and
breifly a university lecturer and I continue to combine work in IT with that of a professional
photographer.
2. How did you become a photographer?
Just over five years ago I acquired a digital camera and at the time knew a young lady who was keen to take up modelling. She had a couple of studio shoots with professionals but was not happy with the results, so I had a go and had some success. The bug caught very quickly and soon I was frequently shooting fashion both in studios and on location. From that I moved more into art inspired work.
3. Who or what inspires your work?
I am primarily inspired by the fine arts - especially painting of all eras, but especially of the renaissance and classical eras, as well as impressionists and pre-rapahaelites.
4. How would you describe your photography style?
It is my objective to create photographic works with a fine-art painterly style, with a mood and feel reminiscent of classical paintings. I also love simple portraits and fashion.
5.What camera do you shoot with and what is your usual set up?
I have had a range of digital Canon cameras and my current one is a 5D mark III, though much of my back catalogue was taken with a 7D mark I. Although I use a number of lenses, my favourite is my Canon L series 24-105 f4.0. In the studio this is likely to be set to 1/160 second, an ISO between 100 and 200 and an aperture between 8.0 and 18.0. The lighting setup can vary but I favour low-key lighting styles, even though I may use seversl strobes and a variety of modifiers (some home made) to achieve the effects I am after. I also use natural light where I may sometimes favour a faster lens (e.g. 50mm f1.8).
6. Some of your earlier shoots featured more traditional fashion photography. What drew you to fantasy and fairytale photography?
Originally it was probably more mythical themes. I studied ancient Greek religion and I am very familiar with the myths and folktales of a number of cultures. These stories have always inspired classical art which is one of my main influences. As I becaome more ambitious in my subjects and my sets I was attracted to these themes and I have actually also used them for some commercial fashion shoots.
7. If you could be any fairytale or fantasy character who would you be?
Gandalf the Grey or Obi Wan Kanobi!
2. How did you become a photographer?
Just over five years ago I acquired a digital camera and at the time knew a young lady who was keen to take up modelling. She had a couple of studio shoots with professionals but was not happy with the results, so I had a go and had some success. The bug caught very quickly and soon I was frequently shooting fashion both in studios and on location. From that I moved more into art inspired work.
3. Who or what inspires your work?
I am primarily inspired by the fine arts - especially painting of all eras, but especially of the renaissance and classical eras, as well as impressionists and pre-rapahaelites.
4. How would you describe your photography style?
It is my objective to create photographic works with a fine-art painterly style, with a mood and feel reminiscent of classical paintings. I also love simple portraits and fashion.
5.What camera do you shoot with and what is your usual set up?
I have had a range of digital Canon cameras and my current one is a 5D mark III, though much of my back catalogue was taken with a 7D mark I. Although I use a number of lenses, my favourite is my Canon L series 24-105 f4.0. In the studio this is likely to be set to 1/160 second, an ISO between 100 and 200 and an aperture between 8.0 and 18.0. The lighting setup can vary but I favour low-key lighting styles, even though I may use seversl strobes and a variety of modifiers (some home made) to achieve the effects I am after. I also use natural light where I may sometimes favour a faster lens (e.g. 50mm f1.8).
6. Some of your earlier shoots featured more traditional fashion photography. What drew you to fantasy and fairytale photography?
Originally it was probably more mythical themes. I studied ancient Greek religion and I am very familiar with the myths and folktales of a number of cultures. These stories have always inspired classical art which is one of my main influences. As I becaome more ambitious in my subjects and my sets I was attracted to these themes and I have actually also used them for some commercial fashion shoots.
7. If you could be any fairytale or fantasy character who would you be?
Gandalf the Grey or Obi Wan Kanobi!
8. You produce a lot of portraits. Why do you favour capturing people and would you
ever explore other genres such as landscape?
I love the challenge of bringing out the character of a subject and I very much enjoy meeting people and the interaction which portraiture requires.
9. Who would be your dream person to photograph?
There were a number of models on my wish list to photograph and I have been fortunate enough to work with many of them. I find I get the best results by working with those models several times. One model I have yet to shoot is actually called Muse - she is especially beautiful, but she shoots so rarely with anyone other than her husband.
10. You tend to use a lot of fabrics to build scenery. Why do you prefer to do this rather than take photos in natural settings such as a forest?
My desire is to 'paint' a scene using the texture of fabrics, props, costumes, poses and lighting. I enjoy working outdoors but a natural setting calls for a different more spontaneous or hurried approach.
11. Can you talk us through some of your lighting techniques?
Since I have no formal photography or lighting training that may be difficult. I mostly use strobe lights. My favourite setup involves the use of a very directional key light using a narrow reflector and honeycomb grid, but this may be supplemented with more of the same plus softboxes or strip lights, and lights adding colour using gels. I may also use lens focussed beams with gobos and other items to create light textures. I also make use of reflective surfaces for fill and softer light.
12. What is your preferred method of editing?
I use LightRoom. The work flow involves image selection/grading then processing. During processing I may regrade or reject images.and while I may take some time on an image my preference is to keep editing subtle.
13. Do you prefer to add photographic style post-production or during the shoot?
I prefer to create the image in camera not in post production. I do not generally make composite images or add any significant art work in post production.
14. Would you say you are more of a creative or technical photographer?
Creative. Although I need to have a feel for the technical side, my adjustments are more from intuition and experience. As I said I have no formal technical training.
15. How important would you say it was for a photographer to have their own studio?
It depends on their style and subjects, but for me it is pretty essential.
16. What pieces of equipment could you not live without?
I love the challenge of bringing out the character of a subject and I very much enjoy meeting people and the interaction which portraiture requires.
9. Who would be your dream person to photograph?
There were a number of models on my wish list to photograph and I have been fortunate enough to work with many of them. I find I get the best results by working with those models several times. One model I have yet to shoot is actually called Muse - she is especially beautiful, but she shoots so rarely with anyone other than her husband.
10. You tend to use a lot of fabrics to build scenery. Why do you prefer to do this rather than take photos in natural settings such as a forest?
My desire is to 'paint' a scene using the texture of fabrics, props, costumes, poses and lighting. I enjoy working outdoors but a natural setting calls for a different more spontaneous or hurried approach.
11. Can you talk us through some of your lighting techniques?
Since I have no formal photography or lighting training that may be difficult. I mostly use strobe lights. My favourite setup involves the use of a very directional key light using a narrow reflector and honeycomb grid, but this may be supplemented with more of the same plus softboxes or strip lights, and lights adding colour using gels. I may also use lens focussed beams with gobos and other items to create light textures. I also make use of reflective surfaces for fill and softer light.
12. What is your preferred method of editing?
I use LightRoom. The work flow involves image selection/grading then processing. During processing I may regrade or reject images.and while I may take some time on an image my preference is to keep editing subtle.
13. Do you prefer to add photographic style post-production or during the shoot?
I prefer to create the image in camera not in post production. I do not generally make composite images or add any significant art work in post production.
14. Would you say you are more of a creative or technical photographer?
Creative. Although I need to have a feel for the technical side, my adjustments are more from intuition and experience. As I said I have no formal technical training.
15. How important would you say it was for a photographer to have their own studio?
It depends on their style and subjects, but for me it is pretty essential.
16. What pieces of equipment could you not live without?
All I really need is my camera and a decent lens and a subject!
17. Who is your favourite photographer?
I really do not keep up to date with modern photography and photographic styles and of modern photographers I know most concentrate on landscapes or travel. If I had to pick it would be a photographer from the early era such as Julia Margaret Cameron or of the early 20th century such as Edward Steichen or Irvin Penn.
18. What do you think sets you apart from other photographers?
Probably my painterly approach together with my use of fabrics for texture, colour and to suggest a setting.
19. What has been your favourite photo to produce to date? Please can you tell us a little bit about it?
Quite difficult to pick one. Those which I paricularly enjoyed creating include Pandora, Out of Reach, Sea Spell, Gloria Mundi, Down the Rabbit Hole and Classical Nude. In each of these cases the final image was very close to the image I had imagined before we started and in most cases the image was created very quickly. Pandora, for example and Gloria Mundi were the first ever attempts with those models and both were created within minutes of starting to shoot. Tatie (Pandora/Out of Reach) and Katie Jane (Down the Rabbit Hole) have become especially dear friends. I guess my two all-time favoutites are Sea Spell (Seamstress Sugar) and Classical Nude (Ivory Flame). My best pre-raphaelite work has been with Seamstress Sugar and virtually all my best nudes with Holly (Ivory Flame) - she is a lovely person and a stunning beauty.
20. Finally, if you can hope to leave one impression with your photographs, what would that be?
Beauty.
I once had a professional review of some of my work where the reviewer said 'These works are all very beautiful but a photograph needs to be more than that.'
It seems very old-fashioned to think that the primary aim of art to to create something beautiful, but if people look at my work and say 'that is beautiful' or 'she is beautiful' that is more than enough for me.
I really do not keep up to date with modern photography and photographic styles and of modern photographers I know most concentrate on landscapes or travel. If I had to pick it would be a photographer from the early era such as Julia Margaret Cameron or of the early 20th century such as Edward Steichen or Irvin Penn.
18. What do you think sets you apart from other photographers?
Probably my painterly approach together with my use of fabrics for texture, colour and to suggest a setting.
19. What has been your favourite photo to produce to date? Please can you tell us a little bit about it?
Quite difficult to pick one. Those which I paricularly enjoyed creating include Pandora, Out of Reach, Sea Spell, Gloria Mundi, Down the Rabbit Hole and Classical Nude. In each of these cases the final image was very close to the image I had imagined before we started and in most cases the image was created very quickly. Pandora, for example and Gloria Mundi were the first ever attempts with those models and both were created within minutes of starting to shoot. Tatie (Pandora/Out of Reach) and Katie Jane (Down the Rabbit Hole) have become especially dear friends. I guess my two all-time favoutites are Sea Spell (Seamstress Sugar) and Classical Nude (Ivory Flame). My best pre-raphaelite work has been with Seamstress Sugar and virtually all my best nudes with Holly (Ivory Flame) - she is a lovely person and a stunning beauty.
20. Finally, if you can hope to leave one impression with your photographs, what would that be?
Beauty.
I once had a professional review of some of my work where the reviewer said 'These works are all very beautiful but a photograph needs to be more than that.'
It seems very old-fashioned to think that the primary aim of art to to create something beautiful, but if people look at my work and say 'that is beautiful' or 'she is beautiful' that is more than enough for me.
Meeting Andy Green
On Saturday I met with Andy Green, my chosen photographer, to photograph him for my assignment. I was invited to see his studio in Middlesbrough where he works and lives.
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