I think this image of this Land Rover G4 captures the emotions very well. This image just yells freedom and adventurous which is perfect for the type of car that it is. This car was meant for off-road driving in many different type of terrain and weather. It also has a feeling of hope because of the lighting around it gives its surrounding a bit more darkness while keeping the car ver well lit. While the head lights are turned on giving more light to the mud road in front of it while the slightly low angle of the car gives it a feeling of power and control that the car has over the road. To capture the emotions for a car means it has to be within its environment, which I’ve noticed in a lot of his other images as well.
Each car he has taken pictures of all have a different background with different lighting for all to have different emotions and stories to tell.
Richard Foster is a sought-after still life photographer because of the dynamic feel his photos have. The photos also has an artistic feel to them making the still life more interesting that will catch the eye. Some people that shoot still life might make the products simple and plain only but Richard Foster I believe puts more thought into his photos where he may use patterns like the photo on the right or give it a asymmetrical look like the photo on the left. The lighting for the one on the right makes the mannequins pop more.
In this photo the way the light brings out the subjects face really makes the photo interesting it’s almost like she was caught doing something and the expression really shows it. The composition might make the photo less interesting but I think the subject being in the middle while someone on the side tells a story of what is going on. The location goes hand to hand with the subject as of course part of the location is at a corner but you can also see the street behind them that brings out that 90s feel.
Tim Wallace made these photos successful because of the way he lights the cars. The tire in the first one has a subtle light to it that gives it a luxury look to where you can see someone well dressed coming out of it. As for the one below the bronze just like the black tire has a good look to it because of the light. The white really pops out capturing the emotion of the high end photography.
When I was brainstorming ideas for my final project the first image that popped into my head was a portrait by Gregory Heisler. I remember the image was so striking because it utilized the color cross lighting method. The subject was an athlete facing one side and looking into the camera. He was shooting on a blue background illuminated by a red rim light, with blue and red cross light filling the shadows and defining the subject. I was also intrigued by Heisler’s portrait of George Bush showing the subject with two heads. This image made me think he was trying to portray Bush as having two sides or a split personality. I wanted to use this in my concept because my piece is about facing challenges in life that take us to completely different headspaces as if we were different people entirely. But it is through determination and perseverance that we’re able to pull ourselves out of those dark spaces to realize our potential. Gregory Heisler is an advocate for breaking technique or thinking outside of the box because he believes constantly relying on just technique can be limiting. Continuing my research, I went on looking for more images using this method and stumbled onto Nick Fancher. Fancher is a photographer, author, and educator specializing in dramatic lighting and bold color exploration techniques. His experience ranges from commercial and portrait photography to fine art. He is most known for his work method using minimal camera gear and shooting in unconventional locations. When I looked at Francher’s work, I was inspired by his use of colored cross lighting, and shadow. In one of his panels, there are three images, one with the subject lit in mostly red with a gradient background, the second with a subject illuminated by a blue X shaped lighting and the last with a subject on a green backdrop lit by a yellow rim and cross light. Visually these images are eye-catching and add a sense of wonder to the emotions of the models, this is an effect I hope to achieve in my own work.
Philip Lorca diCorcia is a well known figure and street photographer born in 1951. He grew up in Hartford,CT attending the University of Hartford in the 1970’s. Corcia later moved on to Boston School of the Museum Fine Arts, rounding out his education at Yale. In his early work, he photographed friends and family making the images appear candid, when actually it involved hours of staging and utilizing lighting techniques. His objective was to blur the lines between the everyday and fabricated scenes. In the 1980’s, Corcia worked as a commercial photographer creating spreads for clients like Esquire, The New York Times and Harper’s Bazaar. From 1990-92, he traveled to Los Angeles working on a series he called Hollywood. The subjects consisted of prostitutes, hustlers and drug dealers which he paid to pose for him. Corcia would name the photos according to the person he photographed and how much he paid. He went on to photograph larger crowds in New York, Tokyo and Paris, setting up flashbulbs in the area waiting for the perfect moment. In his more recent work, his subjects range from pole dancers to the New York metropolis exploring the topics of identity, reality and artifice. His style has been described as combining documentary with conceptual photography. Philip Lorca diCorcia is a recipient of the Guggenheim Fellowship and has had many solo expeditions at the Museum of Modern art (MoMA), Centre National de la Photographie in Paris and Reina Sofiá in Madrid. He currently lives and works in New York. The image below is titled “Ian” depicting a young man with long black hair sitting in the back of a bus. The man who I assume is named Ian is looking into the camera, the image is balanced with passengers on each side. Although the subject is in the middle of the scene, my eyes are also drawn to the passengers in the background. The man falling asleep holding a goldfish in a plastic bag perfectly still and a woman with blue eyeshadow and a floral blazer looking down in her lap or also possibly sleeping. It makes me start to think about which elements or subjects are real in the scene and which are orchestrated by the photographer.
Henry Hargreaves is a self-taught food photographer, born and raised in New Zealand. His fascination with food came from previous experience working in the food industry before becoming a full-time photographer. He was amazed by customer’s requests and what it said about their personalities and character while they ordered. He tried to translate these ideas into his work by using food to create visual connections. After leaving the food industry, Hargreaves worked in fashion in the early 2000’s and was even a model for 4 years. It was then he realized that he wanted to be the person “calling the shots behind the camera”. He started out buying a camera just to play with the idea and see if he could get it to “take some nice shots”. Over time, Hargreaves picked up some lighting techniques and tricks and got a good sense of balance in his compositions. In his work, he gets inspiration from anywhere creating images that appeal to him. He says “If it makes me laugh or constantly comes up in my mind without me having to write it down, I want to try it. Once I decide to execute the only challenge is motivation”. Hargreaves also does a lot of collaborations in his work, he believes it’s a lot more fun and makes the work come out better. He says “collaboration is great for having someone challenge your ideas and compliment your work. A successful collaboration blurs the lines between photographer and artist/stylist and vise versa.” He continues by saying “get out of your comfort zone, that’s when you’ll learn something and get an unexpected surprise.” In the example of his work below, I notice that although most of he likes to be playful with his work, Henry Hargreaves is not afraid to get political. The photo below is from a series called “Power Hungry” where he uses the abundance of food on one side of a table and the scarcity on the other side illustrate the idea of using food as a weapon in society. Throughout history, depriving or restricting access to food to the poor or underprivileged has been used as a way of controlling or silencing the voices of those groups. In the photos, the first picture is well lit and positioned with silverware and table cloth making the food itself look more appealing. In the second picture, the mood of the photo is darker with less appealing food to represent the reality of commoners.
ERB His work on the chef is very realistic, in a combination of art and real life. Very good use of the expression of the model. Many times chefs do not have kitchens or streets or farms to express the life of chefs in different situations. The use of lighting is also very direct. Large light and shadow contrast, use depth of field to blur food or foreground to highlight the main body of the model.For example, the fact that the chef himself was half-squatting and then drowning with salt was very interesting. The light source is from the left. In fact, it is very important to reflect the expression of the model and the reflection of the food to the table.
Fittingly, my final inspiration drives my perspective leading into my final project. I will be shooting freshly made juices, some packaged, some being poured, or still, surrounded by the very ingredients that it is composed of arranged artistically. One of the absolute best photographers, Annabelle Breakey, comes to mind. I have especially been drawn to her natural light food, and beverages collections. I love her use of contrasting textures, arrangements, and color palettes used in her composition. She is obviously very thoughtful approaching these shots. The results are delicious through the screen. She is very masterful with her manipulation of light, in many of the beverage shots she was able to capture sheen on the ice cubes floating near the top of each drink free of any glare on the glass cup/container. I hope to replicate some of this magic with my own twist.
For my final shoots I decided to choose the photographer Pauline Suzor. I really love the photos she shoots with the models and the flowers, it gives it a certain aesthetic that is just enjoyable to my eye. I think the backgrounds and the models contrast with each other and by adding the flowers it adds colour to the photograph and makes the photograph vibrant and more alive.