Digital Projectors, Double Portraits

Digital Projectors, Double Portraits

This is a fun way to play with double exposures without post-shoot editing.

I projected a portrait of my model onto her face, to create these eerie illusions.

Have a go yourself, there are so many possibilities!

Advertisements

What do Artists do All Day?

Producing a ‘work of creative genius’ takes time; after weeks of trying to polish your skill, you may never reach that final result you have been aiming for.

So what is it that can endorse creativity?

Have a look at this BBC world news series following photographer Tom Wood, entitled “What do Artists do All Day?” and let me know what you think!

There is a different artist every month – so have a look!

Piece of the Week: No Seconds Series by Henry Hargreaves

What would your last meal be if you would never eat again? 

For the death row inmates, this is a real question. 

ImageImageImage

Photographer Henry Hargreaves in his series No Seconds reenacts the ‘last meal’ choices of those sentenced to death.

The Rostrum setup (shooting from above) is particularly effective for this series, as the reader feels as though they are the death-row inmate, examining what will be their last meal. These sharp, vivid images speak for themselves.

Laid out in a gourmet fashion, the composition effectively reminds the reader of the importance of life, and the small perks which we can give these people on their final departure. In combination with the text, we begin to associate a person with the food – seeing it as a final comfort, a final ‘guitly’ pleasure…

For More: http://www.lostateminor.com/2014/03/24/last-meals-death-row-inmates/
Watch ‘Life on Death Row’ – BBC IPlayer

Piece of the Week: Transit 24″x18″ on DC Metro – Alexa Meade

Alexa Meade’s work uses mixed media to transform the subject into  painting. Using acrylic paint, she transforms the skin into a canvas, by tracing the areas of shadow and light.  Her Transit 24″x18″ on DC Metro, by juxtaposing one of her ‘painted men’ against the ‘normal’ faces particularly highlights the dominance painting once had over portraiture.

She attempts to reverse photography’s replacement over painting by combining the two in an attempt to highlight how both are art forms in themselves. When discussing her inspiration, Meade claims that “I was fascinated by the absence of light, and wanted to find a way to give it materiality”[1]. Not only does she use the printed photograph to solidify shadows, but fixes this with paint. Meade’s technique is another example of how mixed media can unconventionally enhance the authority of the sitter in the photo.Image

The muse in Transit 24″x18″ on DC Metro is particularly pensive. His age-lines and slightly fatigued frown are fixed by the acrylic paint. His domination of the foreground may be a subversive comment by Meade that her new method is at the forefront of our modern age and will give us a new approach to portraiture. Her ‘new ideology’ is contrasted the choice of an ageing man as the subject.

The crowd in the background is blurred, but recognisable. Their lack of focus adds to the effectiveness of Meade’s muse, as they lose detail where he gains it. The whole tone of the piece is one of intrigue, both at the muse’s facial expression and overall appearance in comparison with the general public on the metro.  

Activity is central to Meade’s work, and can be summarised through journey – literally and physically. Meade begins with the activity of painting on the man’s skin, to leading him to the metro to be examined by the public and shooting him. Trust is an essential between Meade and her sitters, and despite the muse’s expression, he seems content and indifferent to the stares.

This form of unconventional photography is captures our raw expression to new perspective and how we react when the boundaries are broken between us and ‘the artwork’. The dimensions are unclear, as the exact technique used is difficult to decipher unless the process is known. Thus, it is the public that gives Meade’s technique away. Sometimes, reactions to the portrait as just as important as the portrait itself.

For more: http://alexameade.com/

How to: Light Stencils

DSC_0113DSC_0119

Light stencils are a great way to add a little unique flair into your photos – and can produce some amazing results.
Here is how to make your own!

You will need:
– Camera
– Detachable Flash unit
– Cardboard box and lid
– Scalpel
– Colour filters (optional)
– Black and white Card

1. Fill he inside of your box, so that it’s white.

DSC_0104

2. cut a large rectangle hole in your lid making sue that it is slightly smaller than your card  

DSC_0105

3. Put tracing paper over the hole, so to slightly diffuse the flash light
DSC_0106

5. Cut a small hole at the side of the box, to make sure that your hand can fit through with the flash gun

4. Using black card, cut out your stencils. Some ideas (birds, planes, bats, juggling balls). When this is done, you can stick them in turn to the front of the box.

Shooting:
– Wait till it gets a little dark. You will need a long exposure (these were all done on 30 seconds) and a low ISO (100). My aperture was at f/25

– Put the flash gun inside the box and hold it so that the stencil is facing the camera. Then you can flash it as many times as you like.

– You can change the colour of the stencil by placing a filter over the flash gun

– If you want portraits with your light stencils, like the ones above, then get an extra person to shine a torch light over your subject. Make sure the torchlight isn’t facing the camera, or the light lines will be too strong!

Have fun!

Chiaroscuro to the max!

Chiaroscuro to the max!

Chiaroscuro literally means “light” and “dark” in Italian.

Painters such as Caravaggio in the Baroque era were amazed by the dynamic and dramatic quality that combining such intense light effects gave.

By placing the stage light 45 degrees away from my model’s head, I was able to produce a unique outline of her face.