myphotographyworkbook-blog

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Henrik Bonnevier 

Bonnevier is a Swedish contemporary still life photographer that often complements his composition through his use of colour. His images are very bold and vibrant. Bonnevier’s work is known widely within the commercial industry, his clients have include Condé Nast Traveller, Bon Magazine, Gourmet, IKEA, and Moby.

I love the scenes he sets out within his still lifes specifically the incorporation of interesting trinkets like figurines. I would like to consider using similar techniques as the series above. 

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Sebastian Kim

Sebastian Kim is a well known fashion and portrait photographer based in New York and working worldwide. He is known for his extensive work with Vogue. Kim began his career assisting Richard Avedon and later Steven Meisel. 

Each photograph within his portfolio is very bold and clean. The models have strong poses and facial expressions. I really love his work. His photography is often vibrant with pristine retouching in postproduction. I would like to trial some of the photographic techniques he uses. 

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Final Submission for Moving Image: Valentines Day. 

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Contact Sheet of given object location shot. I tried to experiment with different ways of incorporating the ice. Like the effect but prefer the previous image from the first contact sheet. 

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Still Life (Given Object) Final Submission 

This is my location shot for the Kryptonite Lock. I really like the final outcome. I decided to add the banner to depict a mud like effect. I chose and added the slogan to give the image an advertising purpose. The same colours from my previous studio shot are used in the text to link the two together. If I was to shoot this again I would use a bigger slab of ice. 

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Contact sheet of given object location shot. I really like the full frame shot of the lock in the ice (top row). Will take it into post production and clean it up. 

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Still Life Given Object: Location Shot Ideas

For my location shot of the bicycle lock I would like to freeze the lock in a block of ice. I will try a couple of different shots from this. Firstly, the block of ice full with the lock inside representing the features of the object itself (Solid, locked up etc.) For the second shot, I will melt the top so the lock is coming through. I will shoot this in advertising style around the concept that winter is coming to an end and its time to use your bike, and lock, again. 

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Magnus Hastings

Photographer based in London and Los Angeles. Hastings is known for his diverse portfolio within the music, cabaret and performance industry. The selection of images above are part of his series 'Why Drag?' which was exhibited throughout America.

I really like the commercial clean look within the series. Studio lighting is carefully thought through, creating smooth and subtle shadows. Images are softly dodged and burned, techniques often used in fashion. Skin looks beautifully air brushed whilst still retaining detail and texture.

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Print Paper

Like film, printing paper is coated with emulsion containing light sensitive compounds. There are various types of paper that will produce different outcomes when printing and overall aesthetic. Papers differ from emulsion, base, weight, contrast, grade, surface and size. 

Emulsion

Different emulsions produce variations in sensitivity and final image colour/ tone. This results from the proportions of sensitive silver salts used. 

Generally, 

Silver chloride = Warmer and slower the paper. 

Silver bromide = Cooler and faster the paper. 

Base  

There are two base types within print paper: fibre based (FB) and resin coated (RC) 

Fibre Based: 

- A highly refined wood pulp base.

- Absorb all processing solutions into their core. 

- Needs careful processing and thorough wash. 

- Good quality with archival properties. 

Resin Coated:

- Thin plastic layer on each side prevents chemical penetration. Reduces wash time. 

- Used for convenience as its quick and drys flat. 

- Gives a gloss feel.

- Image quality not as high and less permanent. 

Weight

The base thickness can come in different weights; single (140gsm), double (240gsm) and premium/ museum (300gsm). 

Surface

There are several photographic surface for paper; glossy, pearl, matt, lustre or stipple. Each give a different style/ presentation to your image. 

Glossy: Renders the deepest blacks, wide tonal range. 

Pearl: Like gloss but with a sheen instead of high gloss. 

Matt: Reduced tonal range as it diffuses reflections, less black. 

Lustre: Keeps deep blacks with textured surface, grain gets lost. 

Contrast Grade

There are two types of paper in terms of contrast grading: Fixed Grade papers and Multigrade/ Variable Contrast. 

Fixed Grade: 

- Low number means low contrast (soft) and high number means high contrast (hard). 

- The grade of paper is chosen to match the negative giving the contrast required in the print. e.g. An under exposed negative will need a higher grade. 

Multigrade or Variable Contrast:

- Carries no grade number and therefore, contrast is controlled through selection of yellow and magenta filters. 

- The paper carries two emulsions, one of low contrast sensitive to yellow light and the other high contrast responding to magenta. 

Size 

Papers come in a range of sizes. They are between a postcard size (A5) unto 50". 

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Darkroom Techniques: Final Submission 

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Darkroom Techniques: Studio Portrait Test Strips

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Film Push Processing 

Push processing is the technique of increasing the film speed by over developing. Push processing can be used when light conditions are too low for the films ISO. In general you can up-rate many films by 1 or 2 stops (sometimes more). With an under exposed film the development time is extended to compensate it. some films cant be up-rated. 

Push processing is most useful in low light, flood lit or high speed photography (fast shutter needed). 

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Film Developing

Different film developers can be used to achieve various desirable effects. There are a range of companies that provide these. The most common being Ilford. Others include; Rollei; Kodak; Champion; Fotospeed; Rodinal; Tetenal etc...

Fine Grain

Most film developers can be classed as fine grain to varying degrees. Fine grain is used for all general film processing. It allows the best balance of fine grain, sharpness and tone allowing for large enlargement. 

Speed Increasing 

This developer literally does what it states. Useful in push-processing fast films. It gives around a 50% increase in film speed. 

High Acutance 

Designed to retain maximum image sharpness. This developer gives well defined grain with good edge. Not especially fine grain. Best used with slow to medium speed film. 

Low Contrast

Good developer for technical film materials. Produces low to normal contrast negatives that will print easily. Very fine grain, high edge sharpness and well separated tonal range. 

General Use Developer

These are universal developers that can be used for both film and paper. An advantage with cost. Generally when using for film the grain will be harder and therefore not as good quality.  

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Film & Print Processing

Both film and paper are treated chemically after exposure to to light to produce a negative or positive image. Through this the latent image transforms into a visible one. Time and temperature of treatment will vary depending on film or paper used.

Chemical Baths:

Developer 

- Developer converts (develops) the image form latent to macro particles of metallic silver. 

- Ultimately makes the image visible. 

Stop Bath

- A stop bath halts the action of the developer. It is typically a dilute solution of citric or acetic acid. 

Fixer

- Technically dissolves the remaining silver halide and therefore, makes the image permanent and light resistant. 

Wash 

- Washing in clean water removes any remaining fixer. 

- If the wash isn't carried out the image/negative will be subject to discolouration, staining and/or fading.