Bert Stern - Potrait Influence

Yep another iconic set for consideration. In what became known as 'The Last Sitting' with the shoots (three in total) for Vogue magazine occurring only weeks before Marilyn's death. During the shoots Stern captured both the Marilyn we knew and a Marilyn entirely different to the Silver Screen icon that the Western World became familiar with. Marilyn had for some time been expressing that she was a whole person with emotions, opinions, beliefs and values, that she was more than just an object of desire.

Stern had gone down the nudes route in the first session, however Vogue wasn't happy. It didn't want nudes and it didn't want colour. It wanted B&W, it wanted fashion. Hence another two sittings.

I open with the iconic 'crucifix' image. The idea came about simply because Vogues photography editor returned the transparencies to Stern with a 'x' to indicate not accepted. Perhaps the crucifix resonates with the idea of Marilyn's suicide as a form of self sacrifice. It has certainly become the 'signpost' for the collection from the three sittings.

 

 

It is the following image that gave Marilyn a sophistication that we don't readily associate her with. The black all covering dress, the hair tied up, looking away from the camera not being brash and sassy - being quite the opposite the antithesis of her own celebrity.

The lighting (seemingly side lit and slightly behind from the left, and rear lit from the right) has allowed the lines on her neck and shoulders to come through, giving a refined look (rather than the smooth washed out images that we usually see and that Stern himself repeats elsewhere. The pose provides a more angular look more fitting with today's models than the curvaceous models of the late 50's early 60's.

Here's a glamour pose to contrast that sophisticated shot. Light from the front to bring out highlights on the shoulder, breast, beads and face. There also seems to be a top light giving contrast to the hair. Almost washed out at the top but with the soft shadows bringing out the waves and very tips of the hair. The white background allows Marilyn to dominate the image. Notice how the hair almost merges with the background at the crown yet contrasts as we near the shoulder. 

It also does this from the front of the head to the back.

 

Same Marilyn, different woman?

Whilst a lot of post production here the image represents and entirely different aspect of Marilyn. Strongly back and side light Marilyn is in soft shadow. It is the 'robes' that grab our immediate attention. Ye we know it's a sheet but somehow the suggestion of Roman Goddess comes through. The hair is now yellow, whereas in the shots above it has been white and almost grey (adding to that look of refinement that I mentioned).

The hair over one eye also lends to the suggestion of having just bathed. Let's have a look at the original - an all together different message. Now we see that is a bed behind her, and she is just getting out of it in the middle of the day, look at her dishevelled hair - whatever has she been doing? The use of that back light gives us the most powerful message that we then start to add information to arrive at a value judgement.

And now elegance with playfulness. The hair, the jewelery, the ball gown all suggest a woman of importance, not just desire. The poses bring the playfulness of Marilyn back to the image.

The fully body shots lengthens her and suggest tallness (which is a body language signal for importance - studies have show that in business, tall and or handsome  people fair disproportionately better that the converse). Hollywood has and continues to match lead characters with supporting actors that support this thinking. Other uses included the 'shorter' character standing on out of sight objects to raise their stature.

Again we see the light from the left and slightly to the rear. The dress again takes predominance. The first two poses help to lengthen and slim the subject whilst the third is almost statuesque. In three of the image so far - unless you knew the collection - I believe you'd be hard pushed to suggest that this was Marilyn Monroe.

In the shot above Marilyn 'dressed up' to imitate Jackie Onassis. This time a diffused front light has been used to create texture in the white top. A top light creates reflections in the hair and bring out the texture of the lines and curls. The lighting this time does not 'wash out' Marilyn's skin - indeed the skins looks sallow and with hairs given strong imitations of a Southern European female. All that with lighting!

I like the following image not because it directly supports my theme but because it does indirectly. The images immediately resonate with the new Wave female icon of the late 70's early 80's Debbie Harry a.k.a. 'Blondie'. The physical similarities are obvious. It is the notion that the alluring 60's pose were deemed, during the height of punk rock and new wave' to represent a Woman doing her own thing, fronting an all male punk band, two fingers up to the establishment and perceptions of women as the 'tender' sex.

Whilst this was Stern's defining moment he did of course go on to produce significant other works including 'Lolita'. Similar to my use of Newton's work I am seeking to build a body of work to support my proposed them and not an exploration of the photographer's work.

Bert Stern's Website

Here's some more images from those famous sittings.

Helmut Newton - Portrait Inlfuences

Helmut Newton's 'They're coming" is a major influence on my final Portrait choice.

 

The images alone portray the very story - and that's the power of images of course. Whether this was Newton's intention is much debated. The sequence was given the title by Vogue after publication of the images in 1981. Newton certainly portrayed women as dominant and strong, never forgoing beauty and his personal attraction to stilettos and high heeled shoes - revealed in his own words "When I look at a woman," said Newton, "my first glance goes to her shoes and I hope that they are high. High heels make a woman very sexy and give her something threatening." It is also said that Newton took pictures only for his own pleasure and there was nothing altruistic in his work.

We can see that the almost exact replicas have different lighting. This is because Newton had used sunlight coming in through the windows. It does tell us that they were dressed for the first shot and naked for the second. On closer inspection the third model from the left has reversed her leg position.


The use of 'passive' backgrounds allows the models to fully dominate the image.


Horst P Hort's famous corset image portrays a time when the female form was desired but given trusses and girdles. Since Newton's image women have taken to gyms and sports once the reserve of men.

In my shoot I aim to show the transition of everyday women in to business. Whilst women have been in business for some time they have long been perceived individually as 'a woman in a man's world' (we can all hear the song).

Now women are entering in to the business world and bring their femininity with them. I aim to suggest that they should also bring their culture and every other facet of themselves to their work place. This will meet, and perhaps challenge, the call for diversity in the workplace.


Newton, of course is famed for his female nudes, adoration of the female form and controversial construction of images including guns, implied lesbianism and sado masochism. My portrait choice is about about emancipation and liberation. For this reason I will limit exploration of Newton's images to a slide show.

I have selected images that I believe show women as strong characters. Adopting poses that at the time would be considered very masculine - drinking beer at a fast food stand, touting guns and wearing masks or heavy work boots, mastering wild dogs - all with confident body language (eye contact, tilt of the head, pointing of the legs and toes, facial expressions - it's all there), .

N.B. This not a censorship, editorial or moral decision, simply that the images do not further support my intended outcomes.

Newton also worked in colour but it is these B&W images that most resonate with my own theme.

The images are all strongly lit with the light almost washing out the features. Perhaps a tip of the hat by Newton towards modern airbrushing, a desire for perfection in the female form.

Glenn Karlsen - Portrait Influence

Three things appeal to me about Glenn Karlsen - i) his images (naturally), ii) his open admission of using photoshop's full utility to create draw dropping images and iii) his humility/ Lets start with that humility here's his quote directly lifted from his own website http://www.glennkarlsen.com/ "I sometimes do test shoots for free if it's also something in it for me. If you need photo's for your portfolio please contact me and we might figure something out "

Karlsen's openness about post processing shows a shift from 'purist' school of thought to acceptance of a new era that could usher in a major shift in photography. I like it, it's inspiring. As you'll read later, Karlsten's posing of images is quite classical - it's the 'polishing' that makes them stand out.

Here's the one thing that disappoints me - he's a Man Utd fan (in Norway - a Liverpool stronghold). Well now that's out of the way we can get back to being professional (kind of). Hey, he's just accepted my link on Facebook - good man.

Karlsen is very open with his images - see a full portfolio on facebook Glenn Karlsen on Facebook.

This amazing band image was used in November 2009's Digital SLR magazine.

The image achieves a 3D quality to it. You know immediately that this is a rock band - expressions, clothing, hairstyle and dark colours. Amazing depth without colour saturation. Whilst the image creates a unique placement (in water - and you can just imagine that they are actually kneeling down) there is nothing to distract from them they are the focus - the lead singer as always at the front. There's a clever twist here. The natural light is behind them yet they are all well lit up (certainly after Karlsen's clever post processing) but we know light has been put on them from about '4 o clock' as we look at the image. Not too bright as it would have washed out the reflections on the water.

In a 'Creative Digital Techniques' feature entitled 'Hyper-Real Portraits', Karlsen set out a 12 step to achieving this, his trademark 'polished' style.
It's a complex approach - using many layers and tools (including the High Pass Filter) -  that starts off by reducing contrast and saturation before moving on to blow out the shadows and bring out the highlights. In truth I've tried the process and can say it's not intuitive and it's not clear why you are using the tools in the order/combination given. It's advanced stuff. But then that's why Karlsen is a sought after photographer, particularly in the areas of advertising and music (band promotion).

Keeping it simple I can say that bringing out highlights on the skin, the reflections on the water and the detail in the shadows whilst, essentially, applying the reverse to the sky, clothes and hair - are the trademarks of the technique.

Glenn does a lot of work in his native Norway - particularly with bands and musicians. Here's one of his well know shots along with a shot of the lighting set up.

The shot uses very strong lines that encourage our eye to travel though the photograph, noticing each person.

The lighting used an ABR800(Ringflash) in a 56 Moon unit. Notice the 4x3 configuration of chairs that gives greater depth to the image. The viewpoint helps to create the 3d effect, and look at the distance Karlsen is from the subject.

The image makes use of classic composition - thirds - look where the main body of the subject is. The almost greyscale colour scheme gives strong contrast allowing the people to stand out, if somewhat subtly.

The lines of the chair arms sync with the lines of the promenade on which they are seated. The horizon stays 'horizontal' and along with the lines of the sea and the armchairs armrests draw us through the image front to back so that we take note of all the characters. Notice how light hits two places - the floor right in front of the subjects - casting hard low shadows that root the chairs to the ground and a fairly hard light at head & chest height, giving good reason to wear those masks.

I also like the reflections on the visors - I bet the Karlsen Technique came in to play here too.

In the following shot Karlsen also shows how he set up another outdoor shot using an umbrella diffuser to put some soft light on the lower part of the body.

Now we know it's not the same shot as above - position has changed, but look at that light reflecting from head to foot. The muscles are well defined in the legs, the sky gives the feel of a challenge. The landscape reminiscent of the Tour de France. This picture says this guy is very serious about his racing. Again a 3D effect focuses us on the subject, no distracting lines. Background soft and dark. The sun used to back light. The view point is low allowing the subject to be in the commanding position. Altogether perfect stuff.

Here's a photoshow (is that slide show Joe?) of Karlsen's work that I have organised in themes of my own choosing. starting with the solo male poses we move in to bands - notice how the template is hands in pocket, attitude expressions, front lighting to create sharp highlights, as we move from the bands back to the solo artists the use of 'dual image' occurs. Is this pure creativity at work or do the subjects involved require something more? The slide show then moves to show an increased use of texture. However, these are not chronological. The use of texture seems to add some gravitas (roughness) to what might otherwise be 'soft images'. The young man, by the use of texture, is transported from 'boy band' territory to 'rock singer' status. This is similar for the female, what might otherwise be a quite feminine shot is given 'edge' by the texture.

Karlsen also puts his subjects in commanding positions usually shooting from a low position. There is very little movement in Karlsen's images allowing the subjects themselves to be predominant (or does this show his control of the shoot?) Knowing that Karlsen is big on 'post processing' it is likely that he knows exactly where he wants highlights and shadows to fall and looks to control them entirely. The punk trio are shown moving and this does add to the vibrancy of what we might expect a punk band to be about.

Shadows and colour saturation play supporting roles in Karlsen's images. Brick and sky (with sky a very recurring theme) are used to give subtle texture and strong ambiance to his images.

Jonathan Klein: Photos that changed the world

WARNING: This video contains graphic images which some may find disconcerting.


It's here because it supports my portrait choice. About how images can affect how we respond to  the world. In my photo shoot, admittedly less globally significant, I am taking the idea of showing  images (with text) that cause us to challenge our own beliefs, values and conceptions. 


I take the idea of one person, a female and show aspects of gender, race and culture. Does our understanding (projection of our beliefs, values expectations) change according to what we see? Can images help us to reconcile our conflicting opinions? Can images by themselves become a call for action, whether on a 'mass movement' scale or a more subtle, personal, individual shift of opinion. With the latter, can such small individual shifts in beliefs combine to cause a shift in collective beliefs? Just from images?

3.3 Product Shoot - Images For Final Selection

Here they are then, the 16 images, narrowed down from an original total of 105 images.  Only 10 can make the final cut and here comes my rationale for each picture (expressed before each picture).

This one makes the cut. I love the shadows and highlights. The crossbar is white, the shadows are black and shades of grey the midtones are all still in play. The movement lines added in PhotoShop encourage our eye to where the action is. The positioning of the players simulates real life yet the colour saturation (learned from my tilt-shift research) assures us that these are model players. The goal posts provide a nice framing for the action too. The narrow depth of field adds to the tilt shift effect (no additional blurring in CS4). The player (figure?, subject?) heading the ball is in focus again leading us to where the action is. The base of the player mid left hand side is slightly distracting but gives a reason for the man on the post. I love that, just as in real life, there are lots of pieces of action. The keeper is starting to 'go the wrong way' in front of the player handling the ball two opposing players 'face off' whilst elsewhere jostling occurs. The purpose was to create a nostalgic effect through simulation of real life events - I believe this picture meets that objective bang on.

Given the nostalgic the theme I went for aging this shot. I converted it to B&W in LightRoom, then played around with the curves and clarity, before adding a duo tone effect. This makes the cut also. This is a real high contrast image with grain, it harks back to the 50's and 60's which fits well with the goal type (very old first division) and floodlight stanchion (no advertising on the shirts either!). The players form a triangle that narrows towards the keep and brings our eye through the picture. It immediately speaks of nostalgia, of an innocent time, yet it is soft and unchallenging.

Our survey said XXX (family fortunes reference). Yep the focus is on the action, yet the angle is too low. We have a jumble of players framed by the goal. However, that patch of white behind the goal is to distracting (the Subutteo box - lesson learned for all future shoots - REMOVE EVERYTHING FROM THE AREA THAT IS NOT MEANT TO BE IN THE SHOOT - basics I know, but I learned).

So it's no no no.
 





















I like this shot. I probably shouldn't but I do. I like the way it is framed and the use of natural colours, the sharpness the clarity. However, they are also it's undoing - it speaks of now and not of yesterday. So it's three nos' I'm afraid.
 























This is the first image in B&W, another version follows later with a duo tone effect. Now I love the shadows. The players have multiple shadows and it simulates the same effect we'd see on the Midweek Match (if you could get away with staying up on a school night). However, I don't believe there's room in the final 10 for 2-3 B&W images and I much prefer the high contrast shot so It's three falls or a submission and I've thrown the towel in (wrestling references - Shirley Crabtree, god bless him - waiting for the 'Classified Results and Pools Check').































I'd rather hoped this would work, the close in shot, the long shadows of the players, the scramble of the players watching as the tension builds on the penalty taker. Sadly it just doesn't work. I think it needs the large open goal with the goal keeper poised - the open space reaching up to the penalty taker to make it work how I'd want it.

So 3-2-1, dusty bin (Ted Rogers king of the fingers).






























This following type of shot makes up the remainder of the selection. It was the original intention to merge model and real life to create the feel of nostalgia with the additional real life crowds. As children our vivid imaginations added the crowd and noise in for us. In adulthood we have filtered out our 'childish ways' so putting in real life substitutes completes the memory. There is a 'face off' between two players, that's the immediate situation. I also love the shadows (a suggestion of floodlights) and the texture of the Subutteo pitch comes through (which dates it c1970's). In one.
 


















Here's the duo tone that I mentioned earlier. I like for the same reasons as the earlier image, however, also for the same reasons it's not in the final round - but it was 'smashing super great' (Jim Bowen at his finest).

A half decent attempt that almost makes the cut because it meets the criteria for the merging of reality and model life. The inclusion of a Subutteo ball at full size, the action pose, lighting, shadows and tilt shift effect all help. However, the crowd backdrop is just to flat and affects the whole image. Two yellows rather than a straight red, but either way it's sent off.
















One of my favourites. The crowd shout is fairly realistic and I've blurred it enough to support but not distract. There's action, the keepers diving (there could be a hand at the other end of that rod) but too late the ball's in the net and the blue player is already turning away to make his goal celebration. Good shadows, great texture on the pitch and nets, nice highlights on the goalkeepers base, nice whites on the goal posts, good colour saturation (tilt shift motif). You're going through.
















Close to a favourite. love the lighting, love the shadows love the added action. Nice and sharp where it needs to be. Disappointed with the crowd angle and blurring. Time has run out for the C&G but I will fix this for the 'client'. It's in the final selection because it meets the original criteria.
















Probably the best shot in terms of matching crowd and models. It's quite realistic. Good colour saturation and good focus on the jostling players. Decent lighting with good whites and shadows. Again, some good pitch texture. It makes the squad (yep enough 70's TV references - the world cup's coming don't you know).






























Another 'face off' between two players with a much better crowd background. The addition of a third player coming in from the rear adds to the tension of the situation.  Again great texture of the Subutteo pitch. the band of sharp focus leans towards tilt-shit imagery.

This one really works for me the players celebrate a goal in front of the crowd while the crowd celebrate in the background. Good focus and texture, well lit and the 'triangle' of players becomes our immediate focus of attention.
















This I love because it immediately conveys those smokey European nights at the San Siro (although this is the Nou Camp - or Camp Nou for aficionados). There's real tension, a player is injured (or is he feigning - in Subbuteo rules no doubt, if he's over it's a foul), the focus is actually on the players heated debate (a recent phenomena unless you can recall Keegan and Bremner). We then see the player on the floor. The blurred players draw our eye to the main action. The stadium lights (burnt out as they should be) match nicely with the lights on the pitch. Love it me.
















And that's all folks!