We made pinhole cameras using various boxes and containers, I used a Pringles can. I started by spraying it black at home. I then punctured a hole in the bottom with a brad awl, taped a piece of tin foil over the hole and pierced that with a needle. We then went into the dark room cut some light sensitive paper to fit the lid of the pringles can, I used some masking tape doubled over to secure it. We took our home made cameras outside to expose the light sensitive paper for about 20 seconds, before we returned to the dark room to process our images. To process our pictures we first put them into the developer for 60 seconds, then to the fixing solution for 20 seconds and into the rinse solution for 60 seconds before going into the wash for about 20 minuets. We could then check what if anything we had captured. My pinhole camera unfortunately was leaking light from the lid and over exposed my paper. Here are the results.
I have since modified my pinhole camera but not had chance to give it another go yet.
This week we set about making images without using a camera. We did this by exposing light sensitive paper with objects and or materials placed over the top of the paper.
In the dark room we used an enlarger with the aperture set at f11, I placed a piece of lacy fabric over the paper and turned on the enlarger for about 4 seconds, then processed the paper by placing it in the developer for 60 seconds, then in the fixer for 20 seconds, in to the rinse for 60 seconds, then finally into the wash for 20 minuets.
I repeated this process two more times with different objects and materials placed upon the light sensitive paper. We then dried out our pictures before scanning them into the computer.
Here are the resulting images.
After scanning we had ago at editing then on Photoshop, I created a new layer, converted my image to greyscale and the to duotone. I chose a green/blue colour.
The result is below.
17/10/13
Rob White Photography
Case study
Rob White has been photographing food for 15 years shooting for the likes of the Sunday Times Style, Observer Food Monthly, Waitrose, M&S and many more.
Rob did a 3 year catering and hotel management Higher National Diploma from the age of 18.
When he finished he worked for a student union for a year and did a part time photography coarse. His tutor said he should stay on but he decided to go it alone and took a job as a photographers assistant for over 6 years, where he learnt how to cope when things go wrong and how to deal with clients. He spent the first year of assisting hoping that any knowledge that he didn't have he would be able to pick up. He did a lot of supermarket package work in the mid 90's and there was no Photoshop then so it was a lot harder to get things just right than it is today.
Editorial covers everything from magazines, to books, to news papers, which can be more creative but not as lucrative as design and packaging work, PR for restaurants and advertising, witch is the top line. With food photography people tend to over complicate things, especially in the beginning. If using props, people sometimes try to include everything in a picture, but sometimes its better to strip it back.
Never put anything in your portfolio that
you can’t replicate easily. You may get something that’s a complete
fluke and looks great but if somebody commissions you on the strength of that
then you’ve got problems.
Everything that’s retouched should look completely natural.
When Photoshop came out there was this spate of people doing ridiculous things
like putting a plate of food in a bottle just because they could. Make it as
realistic as possible. If somebody knows it’s been retouched then it’s not
really doing its job.
Imagination is more important than knowledge, but learn as much as
possible about light, which is after all pretty essential to
photography. I always used the old pre-digital version of a book called Michael Freeman's Photo School: Light & Lighting. I would
really recommend it.
Here's a list of Rob Whites clients.
EDITORIAL
Waitrose Food Illustrated
Sunday Times Style
Observer Food Monthly
Men’s Health
Arena
Delicious
Sainsbury’s Magazine
Tesco Magazine
Morrisons Magazine
Harpers Bazaar
House and Garden
PACKAGING
J Sainsbury’s
Waitrose
Marks and Spencer
Five Alive
Nestle
Schwartz
Bart’s Spices
Heinz
KP
ADVERTISING
Burger King
Hellmans
Marks and Spencer
Tropicana
Apertina
Heinz
Coca Cola
Cadbury
Nestle
Compass
Northern Foods
Whirlpool
American Express
AEG
This photo has been taken from above with a soft box to the rear left. He has taken a lot of care to make sure his shadow or reflection has not been caught in the image or on any reflective surfaces, like the spoon or the bowl. It looks like he's taken his time to set this shot up, he has created a leading line to the bowl with the cherries and contrasted them with the flakes of chocolate. The spoon and the dusting of fine sugar add extra detail to the photo. The cherry in the bowl adds a splash of colour to the cream, drawing your eye to it.
To me chocolate doesn't need selling, but if it did this image would sell it to me no problem.
It looks like it has been shot from above on a slight angle to the front, with quite bright lighting from the back. It looks like chocolate has been melted, poured onto a flat surface, with solid pieces placed into it, in witch case he will have had to work fast to get the shot that he wanted.
This image is made to look like somebody has been enjoying churros and chocolate with friends. Its been shot from the front and quite low, with a shallow depth of field, throwing the image in the back ground out of focus. Using the chocolate around the inside of the bowl and the drip running down the edge, the sprinkling of sugar on the plate and table top to make it look like you could have made it yourself to share with family or friends.
Lighting
Treat the food you’re photographing as you would any other still life subject and ensure that it is well lit. Many of the poor examples of food photography that I’ve come across in the research for this article could have been drastically improved with adequate lighting. One of the best places to photograph food is by a window where there is plenty of natural light – perhaps supported with flash bounced off a ceiling or wall to give more balanced lighting that cuts out the shadows. This daylight helps to keep the food looking much more natural.
Props
Pay attention not only to the arrangement of the food itself but to the context that you put it in including the plate or bowl and any table settings around it. Don’t clutter the photo with a full table setting but consider one or two extra elements such as a glass, fork, flower or napkin. These elements can often be placed in secondary positions in the foreground or background of your shot.
Be Quick
Food doesn’t keep it’s appetizing looks for long so as a photographer you’ll need to be well prepared and able to shoot quickly after it’s been cooked before it melts, collapses, wilts and/or changes color. This means being prepared and knowing what you want to achieve before the food arrives. One strategy that some use is to have the shot completely set up with props before the food is ready and then to substitute a stand-in plate to get your exposure right. Then when the food is ready you just switch the stand-in plate with the real thing and you’re ready to start shooting.
Style it
The way food is set out on the plate is as important as the way you photograph it. Pay attention to the balance of food in a shot (colour, shapes etc) and leave a way into the shot (using leading lines and the rule of thirds to help guide your viewer’s eye into the dish). One of the best ways to learn is to get some cook books to see how the pros do it.
Enhance it
One tip that a photographer gave me last week when I said I was writing this was to have some vegetable oil on hand and to brush it over food to make it glisten in your shots.
Get Down Low
A mistake that many beginner food photographers make is taking shots that look down on a plate from directly above. While this can work in some circumstances – in most cases you’ll get a better shot by shooting from down close to plate level (or slightly above it).
Macro
Really focusing in upon just one part of the dish can be an effective way of highlighting the different elements of it.
Steam
Having steam rising off your food can give it a ‘just cooked’ feel which some food photographers like. Of course this can be difficult to achieve naturally. I spoke with one food stylist a few years back who told me that they added steam with a number of artificial strategies including microwaving water soaked cotton balls and placing them behind food. This is probably a little advance for most of us – however it was an interesting trick so I thought I’d include it.
This week we started by creating a CV I have posted mine below.
Curriculum
Vitae
Craig
Edward Taylor
2 Avallon Way
Darwen
Lancashire
BB3 3JZ
Telephone: 07879 196776
E-Mail: craigtaylor1369@hotmail.co.uk
Personal Profile
Excellent time keeping and
attendance record.
Honest and reliable.
Team leadership experience in a
factory, responsible for checking programs are correct and ready to run.
I also trained new employees to
operate the CNC Machines and I was responsible for supervising a team of
staff.
Technically competent on an
array of machinery.
Able to work on my own
initiative or as part of a team.
Education and
Qualifications
Photographic
media student FDA2013-2016
Blackburn
University Centre
First
aid2010
Access
point Darwen
Health
and hygiene. 2005
Access
point Darwen
NVQ
Level 2 Manufacturing2002
Mercol
– In-house Training
Health
and Safety
2002
Mercol
– In-house Training
Interior
Design Diploma1991-1992
BlackburnCollege
7
GCSE’S1980-1985
Darwen
Vale High School
Employment History
Kitchen
and Bedroom FitterJanuary
2007- 2013.
Self
employed
Assistant
supervisor
Goods in
Pentland distribution BlackburnFebruary 2004 –
January 2007.
Bar Staff2001-2004
The Pub, Darwen
CNC Operator/Programmer January 1996 – November
2003
Mercol
Office Furniture, Darwen
Production
OperativeMay
1995 – November 1995
Crossfield
Foods, Blackburn
Kitchen Manufacturing
Various company names
same job.1987-1995
Youth training schemeLeaving
school in 1985-1987
Woodwork/Joinery
Hobbies and Leisure
Activities
Walking.
Cycling.
Music.
Photography.
Reading.
I
have 2 years experience free-lance DJ-ing
Photography Experience
Part
of a team shooting promotional material for Youth Zone at The Workhouse
studio Ribchester. Involving a group of teenagers and a brief with various
scenarios. I assisted with setting the lights up and coordinating people
and props for the next shot.
October 2013
Assisted
on a promotional shoot for Raspberry Pi at The Workhouse studio
Ribchester. Which included the setting up of lighting equipment, tethered
shooting to Lightroom and product placement.
October 2013
Have
been the primary photographer on a number of weddings.
Charity
fundraising
Abseil off Blackburn Rovers Stadium roof for the RNIB. 20/6/2000
14 mile walk on M65 for Blackburn Infirmary Scanner Appeal.
31/8/1997
Various activities for NSPCC, NCH, Help the Aged and a local
school.
References
Richard
Peregrine
Lecturer,
Blackburn University Centre.
Albert Watson case study.
Albert Watson (born 1942) is a Scottish photographer well known for his fashion, celebrity and art photography, and whose work is featured in galleries and museums worldwide. He has shot over 200 covers of Vogue around the world and 40 covers of Rolling Stone magazine since the mid-1970s. Photo District News named Watson one of the 20 most influential photographers of all time, along with Richard Avedon and Irving Penn, among others. Watson has won numerous Honor's, including a Lucie Award, a Grammy Award, the Hasselblad Masters Award and three ANDY Awards,.[ He was awarded The Royal Photographic Society's Centenary Medal and Honorary Fellowship (HonFRPS) in recognition of a sustained, significant contribution to the art of photography in 2010.
He was born in Edinburgh, Scotland, the son of a physical education teacher and a boxer. He grew up in Penicuik, Midlothian, and attended the Rudolf Steiner School in Edinburgh and Lasswade High School, followed study at the Duncan of Jordonstone College of Art in Dundee and the Royal College of Art in London.
Watson studied graphic design at the Duncan of Jordanstone College of Art and Design, and film and television at the Royal College of Art. Though blind in one eye since birth, Watson also studied photography as part of his curriculum. In 1970, he moved to the United States with his wife, Elizabeth, who got a job as an elementary school teacher in Los Angeles, where Watson began shooting photos, mostly as a hobby. Later that year, Watson was introduced to an art director at Max Factor, who offered him his first test session, from which the company purchased two images. Watson’s distinctive style garnered the attention of American and European fashion magazines such as Mademoiselle, GQ and Harper’s Bazaar, and he began commuting between Los Angeles and New York. Albert photographed his first celebrity in 1973, a portrait of Alfred Hitchcock holding a dead goose with a ribbon around its neck, for that year's Harper's Bazaar's Christmas issue. The image has become one of Watson's most famous portraits on a list that now includes hundreds of well-known iconic photographs of movie stars, rock stars, rappers, supermodels, even President Clinton and Queen Elizabeth II. In 1975, Watson won a Grammy Award for the photography on the cover of the Mason Proffit album “Come and Gone,” and in 1976, he landed his first job for Vogue. With his move to New York that same year, his career took off.
In addition to photography for the world's top magazines, Watson has created the images for hundreds of successful advertising campaigns for major corporations, such as the Gap, Levi’s, Revlon and Chanel, and he has directed more than 500 TV commercials and photographed dozens of posters for major Hollywood movies, such as "Kill Bill," "Memoirs of a Geisha," and "The Da Vinci Code.". All the while, Watson has spent much of his time working on personal projects, taking photographs from his travels and interests, from Marrakech to Las Vegas to the Orkney Islands. Much of this work, along with his well-known portraits and fashion photographs, has been featured in museum and gallery shows around the world, and Watson's limited-edition prints have become highly sought after by collectors. In 2007, a large-format Watson print of a Kate Moss photograph taken in 1993 sold at Christie's in London for $108,000, five times the low pre-sale estimate.
Since 2004, Watson has had solo shows at the Museum of Modern Art in Milan, Italy; the KunstHausWien in Vienna, Austria; the City Art Centre in Edinburgh; the FotoMuseum in Antwerp, Belgium; and the NRW Forum in Düsseldorf, Germany. Watson’s photographs have also been featured in many group shows at museums, including the National Portrait Gallery in London, the Metropolitan Museum of Art in New York, the Pushkin Museum of Fine Arts in Moscow, the International Center of Photography in New York, and the Deichtorhallen in Hamburg, Germany. His photographs are included in the permanent collections at the National Portrait Gallery and the Metropolitan Museum of Art.
Watson has published several books, including Cyclops (1994), Maroc (1998)., and "Albert Watson" (2007). Two books were released in the fall of 2010: "UFO: Unified Fashion Objectives," a look at 40 years of selected Watson fashion photographs, and "Strip Search," a two-volume set of hundreds of photographs Watson took in Las Vegas. In addition, many catalogs of Watson’s photographs have been published in conjunction with shows, including "The Vienna Album" (2005).
Watson received a Ph.D from the University of Dundee in 1995 and was inducted into the Scottish Fashion Awards Hall of Fame in 2006. His first exhibition in his homeland, Frozen, was held at the City Art Centre of Edinburgh in 2006.
I've chosen these 4 images to evaluate.
I chose this first image because of the contrast between the dark skin of the woman and the sheen on her sunglasses. He has payed massive anttention to the lighting, her face is lit just enough to see the features and to make the sunglasses pop. I think he has used a very large softbox up to the right of the image to get the sunglasses to look like they are solid metal. The depth of field is very shallow, all the background is out of focus and the back of her veil is going out of focus too.
I chose this image more because of how he did it rather than what it's of. I like the fact that he did it all in camera no post production at all. He did this image with a film camera by taking a shot of Mick Jagger, winding back the film and then taking a shot of a jaguar over the top of the first shot of Mick Jagger, making sure he lined them up perfectly.
Absolutely amazing and extreamely creative.
It's Kate Moss need I say more.
Nice soft low key light, possably a long thin softbox off slightly to the left of the image. Large depth of field everything in the image is sharp from front to back. Stronge composition smack bang in the middle, body side on face forward and a catch light in her eyes.
I like the contrast between the white of the models face and the black of her hair and background. There is a round catch light in her eyes which may indicate a beauty dish has been used or a ring flash.
Steve White
Steve White is a Manchester-based news reporter for the Daily Mirror.
I attended a talk by Steve White at the Blackburn University Center in November and was amazed by some of the things he has seen and experienced like The IRA, The Moors Murderers, Dunblane, Lockrebie, The Yorkshire Ripper and the list goes on and on.
Lockerbie.
Lockerbie is known internationally as the place where, on 21 December 1988, the wreckage of Pan Am Flight 103 crashed after a bomb exploded during the flight. In the United Kingdom the event is often referred to as the Lockerbie disaster, the Lockerbie bombing, or simply Lockerbie.
Eleven residents of the town were killed in Sherwood Crescent, where
the plane's wings and fuel tanks plummeted in a fiery explosion,
destroying several houses and leaving a huge crater, with debris causing
damage to a number of other buildings nearby. The 270 victims (259 on
the plane and eleven in Lockerbie) were citizens of twenty-one different
nations.
Dunblane Massacre.
The Dunblane school massacre occurred at Dunblane Primary School on 13 March 1996. The gunman, 43-year-old Thomas Hamilton (b. 10 May 1952), entered the school armed with four handguns, shooting and killing sixteen children and one adult before committing suicide. Along with the 1987 Hungerford massacre, 1989 Monkseaton shootings and the 2010 Cumbria shootings it remains one of the deadliest criminal acts involving firearms in the history of the United Kingdom.
Public debate subsequent to these events centred on gun control laws, including public petitions calling for a ban on private ownership of handguns and an official enquiry, the Cullen Report. In response to this debate, the Firearms (Amendment) Act 1997 and the Firearms (Amendment) (No. 2) Act 1997 were enacted, which effectively made private ownership of handguns illegal in the United Kingdom.
On 13 March 1996, unemployed former shopkeeper Thomas Hamilton (born Thomas Watt, Jr. 10 May 1952) walked into Dunblane Primary School armed with two 9 mm Browning HP pistols and two Smith & Wesson M19 .357 Magnum revolvers, all legally held. He was carrying 743 cartridges, and fired his weapons 109 times. The subsequent police investigation revealed that Hamilton had loaded the magazines for his Browning with an alternating combination of full-metal-jacket and hollow-point ammunition.
After gaining entry to the school, Hamilton made his way to the
gymnasium and opened fire on a Primary One class of five- and
six-year-olds, killing or wounding all but one person.
Fifteen children died together with their class teacher, Gwen Mayor,
who was killed trying to protect the children. Hamilton then left the
gymnasium through the emergency exit. In the playground outside he began
shooting into a mobile classroom. A teacher in the mobile classroom had
previously realised that something was seriously wrong and told the
children to hide under the tables. Most of the bullets became embedded
in books and equipment, though one passed through a chair which seconds
before had been used by a child.
He also fired at a group of children walking in a corridor, injuring
one teacher. Hamilton returned to the gym and with one of his two
revolvers fired one shot pointing upwards into his mouth, killing
himself instantly. A further eleven children and three adults were
rushed to hospital as soon as the emergency services arrived. One child,
Mhairi Isabel MacBeath, was pronounced dead on arrival at the hospital.
The IRA.
The Irish Republican Army (IRA) (Irish: Óglaigh na hÉireann) was an Irish republican revolutionary military organisation. It was descended from the Irish Volunteers, an organisation established on 25 November 1913 that staged the Easter Rising in April 1916. In 1919, the Irish Republic that had been proclaimed during the Easter Rising was formally established by an elected assembly (Dáil Éireann), and the Irish Volunteers were recognised by Dáil Éireann as its legitimate army. Thereafter, the IRA waged a guerrilla campaign against British rule in Ireland in the 1919–21 Irish War of Independence.
Following the signing in 1921 of the Anglo-Irish Treaty,
which ended the War of Independence, a split occurred within the IRA.
Members who supported the treaty formed the nucleus of the Irish National Army founded by IRA leader Michael Collins. However, much of the IRA was opposed to the treaty. The anti-treaty IRA fought a civil war
with their former comrades in 1922–23, with the intention of creating a
fully independent all-Ireland republic. Having lost the civil war, this
group remained in existence, with the intention of overthrowing both
the Irish Free State and Northern Ireland and achieving the Irish Republic proclaimed in 1916.
The Moors Murders
The Moors murders were carried out by Ian Brady and Myra Hindley between July 1963 and October 1965, in and around what is now Greater Manchester,
England. The victims were five children aged between 10 and 17—Pauline
Reade, John Kilbride, Keith Bennett, Lesley Ann Downey and Edward
Evans—at least four of whom were sexually assaulted. The murders are so named because two of the victims were discovered in graves dug on Saddleworth Moor;
a third grave was discovered on the moor in 1987, more than 20 years
after Brady and Hindley's trial in 1966. The body of a fourth victim,
Keith Bennett, is also suspected to be buried there, but despite
repeated searches it remains undiscovered.
The police were initially aware of only three killings, those of
Edward Evans, Lesley Ann Downey and John Kilbride. The investigation was
reopened in 1985, after Brady was reported in the press as having
confessed to the murders of Pauline Reade and Keith Bennett. Brady and
Hindley were taken separately to Saddleworth Moor to assist the police
in their search for the graves, both by then having confessed to the
additional murders.
Characterised by the press as "the most evil woman in Britain",
Hindley made several appeals against her life sentence, claiming she
was a reformed woman and no longer a danger to society, but she was
never released. She died in 2002, aged 60. Brady was declared criminally insane in 1985, since when he has been confined in the high-security Ashworth Hospital. He has made it clear that he never wants to be released, and has repeatedly asked that he be allowed to die.
The murders, reported in almost every English-language newspaper in the world, were the result of what Malcolm MacCulloch, professor of forensic psychiatry at Cardiff University,
called a "concatenation of circumstances". Author Duncan Staff wrote
that the murders brought together a "young woman with a tough
personality, taught to hand out and receive violence from an early age"
and a "sexually sadistic psychopath"
The Yorkshire Ripper.
Peter William Sutcliffe (born 2 June 1946) is a British serial killer who was dubbed by the press "The Yorkshire Ripper" during his crime spree. In 1981 Sutcliffe was convicted of murdering 13 women and attempting to murder seven others.
Sutcliffe regularly purchased the services of sex workers in Leeds and Bradford.
His obsession with killing female street-based sex workers seems to
have originated with an argument over payment, but he later claimed to
have been sent on a mission to kill 'prostitutes' by the voice of God.
In a meeting with his family shortly after his arrest he was heard to
say "the women I killed were filth — bastard prostitutes who were
littering the streets. I was just cleaning up the place a bit."
He carried out the murder spree over a five year period, during which
the public were especially shocked by the murders of some women who
were not sex workers. When arrested in January 1981 for driving with
false number-plates, police questioned him about the killings and he
confessed that he was the perpetrator.
At his trial, he pleaded not guilty to murder on grounds of diminished responsibility, owing to a diagnosis of paranoid schizophrenia, but this defence was rejected by the jury. He is currently serving twenty consecutive sentences of life imprisonment in Broadmoor High Security Hospital. After his conviction, Sutcliffe began using his mother's maiden name and became Peter William Coonan.
West Yorkshire Police
were criticized for the time they took in apprehending Sutcliffe,
despite interviewing him nine times during the murder hunt. Owing to the
sensational nature of the case, they were having to handle an
exceptional volume of information, some of it extremely misleading,
including a major distraction caused by a hoax phone-call purporting to
be from the 'Ripper'. Nevertheless, serious criticism was confirmed in
the 2006 Byford Report of the official enquiry.
The High Court dismissed an appeal by Sutcliffe in 2010, confirming that he would serve a whole life tariff and would never be released from prison.
The Workhouse.
On Friday the 25th of October I participated in a photo shoot at the Workhouse at Ribchester.
The brief was to photograph a number of teenagers and group leaders for promotional material for The Blackburn Youth Zone with various props and rolls. My roll largely consisted of moving lights about and getting the next person ready for the next shot, talking to them so they would be relaxed and not anxious about being photographed. I also helped sort out the props for each shot.
We where using a Nikon D800 full frame camera with lenses ranging from a prime 50mm to a 70-300mm zoom. The lights where Profoto 2 had softboxes and the other 2 had standard reflectors. The 2 with the reflectors on where pointing at the white wall at the back to make it pure white. The 2 lights with the softboxes on where used to light the subject. We also used polystyrene boards (not pictured), 1 side white 1 side black, black side facing the wall to stop the backlight spilling onto the shot.
This is a photo I took or the rest of the team hard at work.
Assessing the work so far whilst having a sort break from shooting.
Phil West at the Mac.
Here are some of the results from the shoot. Phil West is the lead photographer.
These are all totally unedited or cropped with lighting clutter and all.
The final group shot.
Blackburn is Open
Wayne Hemmingway
Arte labore
By skill and hard work.
Interdisciplinary student workshop with Wayne Hemingway.
23/10/13.
I attended a seminar/ workshop lead by Wayne Hemingway at the Northgate Suite, King Georges Hall Blackburn with an aim to get Blackburn back to being a vibrant and culturally divers town again.
Wayne gave a talk about where he started from and how he got to where he is now. Wayne's success is largely down to shear hard work and commitment.
We where all put into groups and give a brief to which we had to come up with ideas for.
I was put into group 2 and our brief was.
Community living rooms using art and culture, coffee and conversation - 'underused 1st and 2nd floor spaces'.
Below is a scan of my note book with some of the ideas that I came up with.
The name I came up with is The Central Hub.
Annie Leidovitz
Early life
Born in Waterbury, Connecticut, on October 2, 1949, Leibovitz is the third of six children. She is a third-generation American whose great-grandparents were Jewish immigrants from Central andEastern Europe. Her father's parents had emigrated from Romania. Her mother, Marilyn Edith, née Heit, was a modern dance instructor of EstonianJewish heritage; her father, Samuel Leibovitz, was a lieutenant colonel in the U.S. Air Force. The family moved frequently with her father's duty assignments, and she took her first pictures when he was stationed in the Philippines during the Vietnam War.
At Roosevelt high school, she became interested in various artistic endeavors, and began to write and play music. She attended the San Francisco Art Institute, where she studied painting. For several years, she continued to develop her photography skills while working various jobs, including a stint on a kibbutz in Amir, Israel, for several months in 1969.
Career
Rolling Stone magazine
When Leibovitz returned to the United States in 1970, she started her career as staff photographer, working for the just launched Rolling Stone magazine. In 1973, publisher Jann Wenner named Leibovitz chief photographer of Rolling Stone, a job she would hold for 10 years. Leibovitz worked for the magazine until 1983, and her intimate photographs of celebrities helped define the Rolling Stone look.[3] While working for Rolling Stone, Leibovitz became more aware of the other magazines. Richard Avedon's portraits were an important and powerful example in her life. She learned that she could work for magazines and still create personal work, which for her was the most important. She sought intimate moments with her subjects, who "open their hearts and souls and lives to you." She was awarded The Royal Photographic Society's Centenary Medal and Honorary Fellowship (HonFRPS) in recognition of a sustained, significant contribution to the art of photography in 2009.
Photographers such as Robert Frank and Henri Cartier-Bresson influenced her during her time at the San Francisco Art Institute. "Their style of personal reportage - taken in a graphic way - was what we were taught to emulate."
In 1978 Leibovitz became the first woman to photograph Joan Armatrading for an album. She did the photography for Armatrading's fifth studio album To the Limit, spending four days at her house capturing the images.
John Lennon
On December 8, 1980, Leibovitz had a photo shoot with John Lennon for Rolling Stone, promising him that he would make the cover. She had initially tried to get a picture with just Lennon alone, which is what Rolling Stone wanted, but Lennon insisted that both he and Yoko Ono be on the cover. Leibovitz then tried to re-create something like the kissing scene from the Double Fantasy album cover, a picture that she loved. She had John remove his clothes and curl up next to Yoko on the floor. Leibovitz recalls, "What is interesting is she said she'd take her top off and I said, 'Leave everything on' — not really preconceiving the picture at all. Then he curled up next to her and it was very, very strong. You couldn't help but feel that he was cold and he looked like he was clinging on to her. I think it was amazing to look at the first Polaroid and they were both very excited. John said, 'You've captured our relationship exactly. Promise me it'll be on the cover.' I looked him in the eye and we shook on it." Leibovitz was the last person to professionally photograph Lennon—he was shot and killed five hours later.
In 2011, Leibovitz was nominated alongside Singaporean photographer Dominic Khoo and Wing Shya for Asia Pacific Photographer of the Year.
Other projects
In the 1980s, Leibovitz's new style of lighting and use of bold colors and poses got her a position with Vanity Fair magazine. Leibovitz photographedcelebrities for an international advertising campaign for American Expresscharge cards, winning her a Clio award in 1987.
In 1991, Leibovitz mounted an exhibition at the National Portrait Gallery. She was the second living portraitist and first woman to show there. Leibovitz had also been made Commandeur de l'Ordre des Arts et des Lettres by the French Government.
Also in 1991, Leibovitz emulated Margaret Bourke-White's feat, when she mounted one of the eagle gargoyles on the 61st floor of the Chrysler Building in Manhattan, where she photographed the dancer David Parsons cavorting on another eagle gargoyle. Noted Life photographer and picture editor John Loengard made a gripping photo of Leibovitz at the climax of her danger. (Loengard was photographing Leibovitz for the New York Timesthat day).
A major retrospective of Leibovitz's work was held at the Brooklyn Museum, Oct. 2006 – Jan. 2007. The retrospective was based on her book,Annie Leibovitz: A Photographer's Life, 1990–2005, and included many of her professional (celebrity) photographs as well as numerous personal photographs of her family, children, and partner Susan Sontag. This show, which was expanded to include three of the official portraits of Queen Elizabeth II, then went on the road for seven stops. It was on display at the Corcoran Gallery of Art in Washington, D.C., from October 2007 to January 2008, and at the Palace of the Legion of Honor in San Francisco from March 2008 to May 2008. In February 2009 the exhibition was moved to Berlin, Germany. The show included 200 photographs. At the exhibition, Leibovitz said that she doesn't have two lives, career and personal, but has one where assignments and personal pictures are all part of her works. This exhibition and her talk focused on her personal photographs and life.
In 2007, The BBC misrepresented a portrait shooting by Leibovitz of Queen Elizabeth II to take the Queen's official picture for her state visit to Virginia. This was filmed for the BBC documentary A Year with the Queen. A promotional trailer for the film showed the Queen reacting angrily to Leibovitz's suggestion ("less dressy") that she remove her tiara, then a scene of the Queen walking down a corridor, telling an aide "I'm not changing anything. I've had enough dressing like this, thank you very much." The BBC later apologized and admitted that the sequence of events had been misrepresented, as the Queen was in fact walking to the sitting in the second scene. This led to a BBC scandal and a shake-up of ethics training. See The Tiaragate Affair.
Leibovitz claims she never liked the word "celebrity". "I've always been more interested in what they do than who they are, I hope that my photographs reflect that." She tries to receive a little piece of each subjects personality in the photos.
On April 25, 2008, the televised entertainment program Entertainment Tonight reported that 15-year-old Miley Cyrus had posed topless for a photo shoot with Vanity Fair. The photograph, and subsequently released behind-the-scenes photographs, show Cyrus without a top, her bare back exposed but her front covered with a bedsheet. The photo shoot was taken by photographer Annie Leibovitz. The full photograph was published with an accompanying story on The New York Times' website on April 27, 2008. On April 29, 2008, The New York Times clarified that though the pictures left an impression that she was bare-breasted, Cyrus was wrapped in a bedsheet and was actually not topless. Some parents expressed outrage at the nature of the photograph, which a Disney spokesperson described as "a situation [that] was created to deliberately manipulate a 15-year-old in order to sell magazines."
In response to the Internet circulation of the photo and ensuing media attention, Cyrus released a statement of apology on April 27:
"I took part in a photo shoot that was supposed to be ‘artistic’ and now, seeing the photographs and reading the story, I feel so embarrassed. I never intended for any of this to happen and I apologize to my fans who I care so deeply about."
Leibovitz also released a statement saying:
"I'm sorry that my portrait of Miley has been misinterpreted," Leibovitz said. "The photograph is a simple, classic portrait, shot with very little makeup, and I think it is very beautiful."
In October, 2011, Leibovitz had an exhibit in Moscow. In an interview with Rossiya 24, she explained her photography style.
Leibovitz had a close romantic relationship with noted writer and essayist Susan Sontag. They met in 1989, when both had already established notability in their careers. Leibovitz has suggested that Sontag mentored her and constructively criticized her work.
After Sontag's death in 2004, Newsweek published an article about Leibovitz that made reference to her decade-plus relationship with Sontag, stating that "The two first met in the late '80s, when Leibovitz photographed her for a book jacket. They never lived together, though they each had an apartment within view of the other's."
Neither Leibovitz nor Sontag had ever previously publicly disclosed whether the relationship was familial, a friendship, or sexual in nature. However, when Leibovitz was interviewed for her 2006 book A Photographer's Life: 1990-2005, she said the book told a number of stories, and that "with Susan, it was a love story."
Even though Annie Leibovitz and Susan Sontag never formally stated their relationship Annie has said in her book A Photographers life "Words like 'companion' and 'partner' were not in our vocabulary," Leibovitz says. "We were two people who helped each other through our lives. The closest word is still 'friend'."
In the preface to the book, she speaks in greater detail about her romantic/intellectual relationship with Sontag, briefly discussing a book they were working on together and describes how assembling A Photographer's Life: 1990-2005 was part of the grieving process after Sontag's death. The book and accompanying show include many photographs of Sontag throughout their life together, including several on her deathbed.
Leibovitz acknowledged that she and Sontag were romantically involved. When asked why she used terms like "companion" to describe Sontag, instead of more specific ones like "partner" or "lover", Leibovitz finally said that "lover" was fine with her. She later repeated the assertion in stating to the San Francisco Chronicle: "Call us 'lovers'. I like 'lovers.' You know, 'lovers' sounds romantic. I mean, I want to be perfectly clear. I love Susan."
Leibovitz is Jewish and nonobservant. Asked if being Jewish is important to her, Leibovitz replied, "I'm not a practicing Jew, but I feel very Jewish."
Children
Leibovitz has three children. Her daughter Sarah Cameron Leibovitz was born in October 2001 when Leibovitz was 52 years old. Her twins (two girls) Susan and Samuelle were born to asurrogate mother in May 2005.
Financial troubles
In February 2009, Leibovitz borrowed $15.5 million, having experienced financial challenges in recent years. She put up as collateral, not only several houses, but the rights to all of her photographs. The New York Times noted “one of the world’s most successful photographers essentially pawned every snap of the shutter she had made or will make until the loans are paid off.” In July 2009, a breach of contract lawsuit against Leibovitz was filed by Art Capital Group in the amount of $24 million regarding the repayment of these loans. In a follow-up article,the Times explores why an artist of her standing could be in such financial straits, despite a $50 million archive. They cite a "long history of less than careful financial dealings," and "a recent series of personal issues." The latter include the recent loss of her father, her mother, her companion (Susan Sontag), the addition of two children to her family, and the controversial renovation of three properties in Greenwich Village. In early September 2009, an Associated Press story quoted legal experts as saying that filing for bankruptcy reorganization might offer Leibovitz her best chance to control and direct the disposition of her assets to satisfy debts. On September 11, Art Capital Group withdrew its lawsuit against Leibovitz, and extended the due date for repayment of the $24 million loan. Under the agreement, Leibovitz retains control over her work, and will be the "exclusive agent in the sale of her real property (land) and copyrights."
In March, 2010, Colony Capital concluded a new financing and marketing agreement with Leibovitz, paying off Art Capital and removing or reducing the risks of Leibovitz losing her artistic and real estate.
In April 2010, Brunswick Capital Partners filed suit against Leibovitz, claiming that they are owed several hundred thousand dollars for helping her restructure her debt.
In December 2012 her famous Townhouse in West Village, NY was listed for sale, asking price was set at $33 Million. Leibovitz stated that she sold her home in order to move closer to her daughter.
Linda Ronstadt in a red slip, on her bed, reaching for a glass of water in a 1976 cover story for Rolling Stone magazine.
Demi Moore has been the subject of two highly publicized Vanity Fair covers taken by Leibovitz: More Demi Moore (Aug. 1991) featuring Moore pregnant and nude, and Demi's Birthday Suit (Aug 1992), showing Moore nude with a suit painted on her body.
Miley Cyrus' Vanity Fair photo in which the child star appeared semi-nude, leading to a controversy.
Michael Jackson twice for the cover of the Vanity Fair magazine, including other additional photographs of him which were not featured on the cover of the magazine.
Johnny Depp and Kate Moss at the Royalton Hotel, New York in 1994. A nude Moss laying on a bed while fully clothed Depp is lying between her legs, covering her abdomen.
Lance Armstrong riding his Trek Madone bicycle in the buff in the rain. It was shown in Vanity Fair's 1999 December issue.
"White Oak Dance Project: Photographs by Annie Leibovitz"
Olympic Portraits
Women
American Music
A Photographer’s Life 1990–2005 (catalog for a travelling exhibit that debuted at the Brooklyn Museum in October 2006)
Annie Leibovitz: At Work
Pilgrimage
wikipedia.
Tom Ang.
Tom Ang is a photographer, author, traveller and academic. A specialist in travel and digital photography, he has photographed extensively in Central Asia. He won the Thomas Cook Travel Book Award for best Illustrated Travel Book for his coverage of the Marco Polo Expedition.
Ang was a senior lecturer in photographic practice at the University of Westminster for over 12 years (1991–2004) and created the MA Photographic Journalism course. For over 10 years he specialized in photographing Central Asia, extensively traveling in Uzbekistan and Kyrgyzstan, with a few visits to Kazakhstan and Tajikistan. He led a Know How Fund project that helped equip a radio studio for radio students and which reformed the journalism curriculum for the Kyrgyz Russian Slavonic University in Bishkek, Kyrgyzstan.
Ang is the author of 21 books on photography and video including Digital Photography Masterclass, Fundamentals of Photography,Tao of Photography, Digital Photographer’s Handbook (now in 4th edition), Advanced Digital Photography (now in 2nd edition), Picture Editing (now in 2nd edition), Eyewitness Companion: Photography, and Digital Video Handbook, How to Photograph Absolutely Everything.
Ang is presenter of the BBC series "A Digital Picture of Britain", first transmitted in 2005 on BBC4. A second series, entitled "Britain in Pictures" was transmitted in 2007. He presented an 8-part TV series for Channel NewsAsia in Singapore which was broadcast in August 2009. He continues to write and photograph, adding high-definition video production to his activities.
I recently purchased a book by Tom Ang called Fundamentals of modern photography. Its a handbook that covers everything from basic photography, image process, workflow, composition to printing, editing and archiving.
Case Study.
Sam Taylor-Wood.
Samantha "Sam" Taylor-Johnson OBE (born Samantha Taylor; 4 March 1967), known professionally as Sam Taylor-Wood, is an English filmmaker, photographer and visual artist. Her directorial feature film debut came in 2009 with Nowhere Boy, a film based on the childhood experiences of the Beatles songwriter and singer John Lennon. She is one of a group of artists known as the Young British Artists.
26 October 1993 by Henry Bond and Sam Taylor-Wood (1993)
Taylor-Wood began exhibiting fine art photography in the early-1990s. One collaboration with Henry Bond, titled 26 October 1993, featured Bond and Taylor-Wood reprising the roles of Yoko Ono and John Lennon in a pastiche of the photo-portrait made—by photographer Annie Leibovitz—a few hours before Lennon was assassinated, in 1980.
In 1994, she exhibited a multi-screen video work titled Killing Time, in which four people mimed to an opera score. From that point multi-screen video works became the main focus of Taylor-Wood's work. Beginning with the video works Travesty of a Mockery and Pent-Up in 1996. One of Taylor-Wood's first United Kingdom solo shows was held at the Chisenhale Gallery, east London, in September–October 1996. Taylor-Wood was nominated for the annual Turner Prize in 1998, but lost out to the painter Chris Ofili. She won the Illy Café Prize for Most Promising Young Artist at the 1997 Venice Biennale.
In 2000, Taylor-Wood created a wraparound, photomural around scaffolding of the London department store Selfridges while it was being restored; the mural featured 21 cultural icons including Elton John, musician Alex James and actors Richard E. Grant and Ray Winstone. The poses of the figures referenced famous works of art from the past and recent movies.
In 2002, Taylor-Wood was commissioned by the National Portrait Gallery to make a video portrait of David Beckham—whom she depicted sleeping. She is perhaps best known for her work entitled 'Crying Men' which features many of Hollywood's glitterati crying, including Robin Williams, Sean Penn, Laurence Fishburne and Paul Newman. In 2006, Taylor-Wood had a survey exhibition at the BALTIC Centre for Contemporary Art, Gateshead, United Kingdom.
Nowhere Boy
In August 2008, Taylor-Wood was chosen to direct Nowhere Boy, a biopic about the childhood of The Beatles' singer, John Lennon.
Speaking about her experience directing the film, in September 2010, Taylor-Wood said,
I thought, I'm in too deep and if I mess this up I'm just never gonna make a film again, and I went into a panic. I got into the car and said, I just have to call these producers and pull out. I got into the car and I put the key into the ignition and Lennon's voice came straight out of the radio and it was Starting Over. It was one of those moments where I thought it was a sign: OK I'm gonna do it.
The 53rd annual London Film Festival screened the film as its closing presentation on 29 October 2009. The film was released in the UK on Boxing Day, 2009. Charles Gant, writing in the Guardian—three weeks after the film's national release—said that the film had "extremely disappointing receipts." Taylor-Wood was nominated for a BAFTA award on 21 January 2010, but lost out to Duncan Jones.
Other music, film and television work
In 2006, Taylor-Wood contributed the short film Death Valley to the British version of Destricted. In 2008, Taylor-Wood directed a short film Love You More, written by Patrick Marber and produced by Anthony Minghella. The film includes two songs by the Buzzcocks and features a cameo appearance by the band's lead singer Pete Shelley. In February 2009, Taylor-Wood, collaborating with Sky Arts chose to interpret Vesti la Giubba from Pagliacci. She commented: "I’m really happy to be involved in such a great project. I think by capturing one of opera's most moving moments in a film short, we have put a modern spin on the aria." In 2011, she directed the music video of "Überlin" by R.E.M.. The clip stars her fiance Aaron Johnson, who, "throws some kung-fu kicks, attempts some pirouettes, prances, punches the air, chicken walks, tries out some bunny impressions, and, at one point, fondles his bottom."
In October 2008, she released a dance track in Germany: Sam Taylor-Wood Produced By Pet Shop Boys: "I'm in Love with a German Film Star" including four remixes on CD and vinyl. It failed to chart.
In September 2011, she collaborated with Solange Azagury-Partridge on the short film: Daydream. This short film was aired to support the launche of Solange's new jewellery collection, 24:7. Under the direction of Sam, Liberty Ross plays a beautiful woman in her bedroom. Alone. Dreaming but with her jewellery. Her lover, played by JJ Field, joins her, bejewels her and passionately they begin the day together. Original music composed by Oscar winner Atticus Ross, director of photography BAFTA winner John Mathieson.
From a list that included Angelina Jolie, Steven Soderbergh, Joe Wright, and Gus Van Sant,Taylor-Wood was chosen to direct the film adaptation of E. L. James' best-selling erotic novel, Fifty Shades of Grey to be made by Universal Pictures and Focus Features.
In the early 1990s, Taylor-Wood was in a relationship with artist Henry Bond.
Taylor-Wood has overcome two bouts of cancer. In December 1997, at age 30, she suffered from and was treated for late-diagnosed colon cancer. Three years later, in 2000, she was diagnosed with breast cancer.
In 2009, Taylor-Wood made a cash payment of £11 million for a detached townhouse in Primrose Hill, London.
Taylor-Wood was appointed Officer of the Order of the British Empire (OBE) in the 2011 Birthday Honours for services to the arts.
Marriages and children
Taylor-Wood married art dealer Jay Jopling in 1997. Together they have two daughters: Angelica (born June 1997) and Jessie Phoenix (born November 2005). In September 2008, Taylor-Wood and Jopling announced that they were separating amicably after 11 years of marriage.
Taylor-Wood began a relationship with Nowhere Boy star Aaron Taylor-Johnson after meeting on the 2009 set of the film. The couple announced their engagement at the film's premiere in October 2009. They married on 21 June 2012 and both took the name Taylor-Johnson. The couple have two daughters together, born prior to their marriage: Wylda Rae (born 7 July 2010) and Romy Hero (born 18 January 2012).
My body the battleground: Sam Taylor-Wood bares all after cancer and two births
Last updated at 00:53 13 December 2007
Sam Taylor-Wood bares the scars of her battle against two cancers in a magazine issue devoted to women and their bodies.
The artist, who is known for depicting her own body in her work, agreed to pose for photographer Mary McCartney in the special edition of Harper's Bazaar.
Taylor-Wood said fighting breast and colon cancer had rid her of all inhibitions and insecurities about her body and she was now an "exhibitionist".
Scroll down for more...
Mother love: Sam Taylor-Wood tells a special edition of Harper's Bazaar, left, she loves her body for having fought cancer
The 40-year-old mother-of-two said: "I love showing my scar on my tummy - it is shaped like a question mark."
Taylor-Wood, who is married to art dealer Jay Jopling, was diagnosed with colon cancer in 1997 just weeks after giving birth to daughter Angelica.
In 2000, she was diagnosed with breast cancer and underwent a mastectomy.
She beat both cancers and gave birth to her second daughter, Jessie, last year.
She said the best thing about her body was "the fact it has coped with and fought two different cancers and produced two beautiful children".
From 19 September to 30 November 2003, the BAWAG FOUNDATION presents a selection of works by the British artist Sam Taylor-Wood. The exhibition includes the color photographs Five Revolutionary Seconds III (1996) and Soliloquy II (1998), the videos Sustaining the Crisis (1997) and Hysteria (1997), the 35 mm films Still Life (2001) and A Little Death (2003), and Passion Cycle I–XXV (2002). Five Revolutionary Seconds III numbers among Sam Taylor Wood’s early works. This series of photographs was taken with a historical Royal Air Force camera which was developed and used for making aerial photographs. Each shot made produces a 360° panoramic image that Taylor-Wood presents on a straight wall, accompanied by a soundtrack, and not in a circular form like a classic panorama, as it would be adequate for the reception of such a work. Five Revolutionary Seconds III (1996), the color photograph presented in the BAWAG FOUNDATION, shows a number of completely different individuals in the chic salon of a magnificent mansion: an elegantly dressed woman curled up on a couch with her hand in front of her mouth in a gesture of fright, a man who appears to be searching for something, and a nude pair making love on a chair. Because it is impossible for the viewer to take in all the persons portrayed at one glance, one of the essential qualities of photography is subverted by the artist, and time – a cinematic quality – is introduced as an essential element in the viewing process. But while time in a film runs parallel to the course of events, Five Revolutionary Seconds III reveals no construction of that kind. The characters each exist in their own world; even the couple having sex remains completely isolated. The persons represented may suggest a certain unity, but their actions are entirely heterogeneous. The sound in the background actually adds to this impression: there is neither music nor text that might lend meaning to the scenes; on the contrary, an unintelligible chatter, groans, and directions by the artist behind the camera do away with the slightest chance to identify with the reality of the picture.
The color photograph Soliloquy II (1998) relies exclusively on visual means. In terms of form, the strongly erotically charged series makes us think of early Renaissance altarpieces with a main subject and a predella. " My iconic presentation comes from old-master paintings, from Simone Martini to Fra Angelico, from Paolo Uccello to Andrea Mantegna, in whose work the panels form triptychs or unified wholes, constructed as a large architectural space, where figures are placed as a separation between heaven and earth. Above, in the empyrean, are the Divinities and Saints, below their terrestrial events. In the ‘Soliloquy’ series, I wanted to depict the same separation, the different formal sense between above and below, between sublime and physical, immaterial and material, and I sought to bring them into line in a whole that would produce a sort of focus on the territory that lies between the conscious and the unconscious. Above is the individual who thinks or reflects, and below his oneiric and anguished reflections.” (Sam Taylor-Wood)
The photograph, which the artist based on "Death of Chatterton” by Henry Wallis (1856) is an exception within the series. Unlike the other photographs, the work highlights a completely media-saturated contemporary archetype of masculinity with all the connotations of power, danger and sexuality and does not suggest any painterly presentation. Sustaining the Crisis (1997) consists of two projections visualizing a nightmare. They are mounted opposite each other: on one screen, you see a woman with bare breasts running along an endless brick wall for ten minutes, towards the viewer, but looking at them without seeing them. On the opposite screen, you see a man who seems to be surprised or even petrified by shock. The sound of breathing of both the woman and the man, the only logical connection between the two forms of non-communication, forges a link between the two projections.
Pure emotion is the subject of the eight-minute DVD video Hysteria (1997). Inspired by nightly conversations with a friend who lost her sister to cancer and, in her emotional confusion, alternately laughed and cried, Sam Taylor-Wood shows the filmed close-up of a woman’s face. Her facial features are contorted, her head moves spasmodically, her mouth is open. It is difficult to say whether she has fallen prey to ecstatic joy or desperate grief. Because of the absence of sound and the slow motion, the cause of her disorder remains in the dark. The viewer is once again witness to a spectacle without key, context, or truth. What predominates is the feeling that the sound is withheld from the viewer – a strange, oppressive experience, not unlike the impotence sometimes felt in nightmares.
Lasting less than four minutes, the 35 mm time-lapse film Still Life (2001) documents the decomposition process of fruit in a dish – a memento mori brought back to life again and again through its loop format on an LCD screen. It is a vanitas picture, but one which, because of its looped return to its starting point, could just as well refer to the beauty of perfection as to deterioration. This work has its counterpart in Little Death (2003), for which the artist also chose the 35 mm format: the hare that returns to dust this time is an image of a completely morbid beauty.
Sam Taylor-Wood’s Passion Cycle I–XXV (2002) was inspired by shunga or spring pictures, Japanese woodcuts by 19th-century masters who not only portrayed kabuki actors, geishas, sumo wrestlers, and scenes from everyday life but also depicted sexuality in a frank and unvarnished manner. The series consists of twenty-five precious little light boxes with extremely explicit shots of a couple making love in various positions. The small format of Taylor-Wood’s images emphasizes the voyeuristic relation characteristic for the collectors of such prints – an attitude which may be compared to that of late 19th-century European collectors of erotic photographs. In an exhibition space, this intimacy becomes public though, the connoisseur’s feeling being violated by an ostensibly malicious artist who, tongue in cheek, allows this provocation too to blend with the viewer’s projection.
A little death
Still life
Sustaining the crisis.
Hysteria.
Sam Taylor Wood created an amazing series of self-portraits. "Taylor-Wood's work examines the split between being and appearance, often placing her human subjects either singly or in groups in situations where the line between interior and external sense of self is in conflict. "
Photo cases, boxes and sleeves.
Printing and paper.
Where from and how much?
Portfolio Store (internet)
Thin archival box £10.98
Kristal seal sleeves x25 £3.98
DS Colour Labs (internet)
Photo-Mechanical Services (Blackburn) Ltd 3 Canterbury Street Blackburn Lancashire ENGLAND BB2 2HP
The Print Space (internet)
sample pack available £5.00
Cotswold Mounts (internet)
Silverprint Photographic Supplies (internet)
Hahnemuhle Paper. (internet)
Sample pack available.
Model Release Form
ADULT MODEL/PERFORMER AGREEMENT RELEASE
Release #: _____________________________
Date/s of production/s: _____________________________
Model: _________________________________________
Address: ________________________________________
_______________________________________________
Phone No: ______________________________________
Model’s Age (at time of production): __________________
Grant of Rights: Craig Taylor represents and warrants that he is the owner of the photographs and has the unrestricted right to grant this license and rights. This license is valid only for the listed use. Any other use or reuse requires a new license. Client may not transfer this license. Licensed images may be altered.
Payment: Licensing fees can be paid by credit card on our secure online page. Checks, wire transfer, and Paypal are also accepted. For accounts or purchase orders, full payment must be received within 45 days after the invoice date or prior to publication. Rights are not transfered before payment is received.
Credit (mandatory for editorial uses):Taylor Made Photography, must appear on the same page as the photograph(s), except for covers and textbooks, where credit may be given on a separate page. If licensed for web use, credit must link to http://www.taylormadephotography.biz.
Copies: Client shall provide, if requested, one copy of the use.
Releases: Craig Taylor does not have model, property, or other releases. Client indemnifies Craig Taylor against all liabilities and expenses arising from unauthorized uses.
Refunds: Refunds may be issued only up to 45 days from the date on the invoice, minus a processing fee.
Note: this is much simplifed from the original industry-standard contract of EP. Permission is granted to other photographers to reuse it or further modify it, provided that a link to this page, or the terragalleria.com homepage is given as acknowledgement.
Licence agreement
Licensee is hereby granted a license for the following use: 1. The image(s) subject to this agreement are as follows:________________________________________________________________________
2. Use of the above mentioned images use are limited to the following: __________________________________________________________________
Licensor and Licensee agree to the following terms:
1. Licensor retains all copyright and moral rights to each image. Licensor also retains all rights not expressed in the agreement including advertising rights. __________________________________________________________________ __________________________________________________________________ __________________________________________________________________
2. Licensee agrees to give Licensor proper photo credit on each reprint as follows: __________________________________________________________________ __________________________________________________________________
__________________________________________________________________ 3. Licensee may not transfer license to other parties without written permission from Licensor.
4. Licensee agrees that altering images is prohibited without receiving written permission from Licensor except for alterations stated below.
_____ Exclusive: The Licensor shall not enter into an agreement with the aforementioned images throughout the duration of this contract. _____ Non-exclusive: The Licensor may assign additional licenses to other parties during In witness thereof, the parties execute this agreement.
Health and safety advice for freelance photographers
It is recognised that the photographic industry is largely made up of organisations employing between one and four persons and the majority of these are self-employed. The 1974 Health and Safety at Work etc. Act places broad responsibilities on employers, employees and the self employed.
Responsibilities
It is the duty of every employer, so far as is reasonably practicable, to ensure the health, safety and welfare at work of all his employees.
For employees to take reasonable care for their own safety and that of others.
For self employed people to conduct themselves in such a way that people not in their employ are not exposed to health and safety risks.
Locations
The following health and safety considerations should be taken into account before, during and after assignments. The following relate to assignments on location:
the photographer should have current employer and public liability insurance, including cover for people engaged by him on an occasional basis. Remember, these certificates should be securely archived for forty years
the photographer and his assistant should have motor vehicle insurance which covers their vehicles for business use
the photographer should have a formal agreement with the customer outlining their requirements
should carry out a visit to the location to discuss arrangements with the customer, requesting where necessary, permission for access and right to take photographs
should carry out a risk assessment particular to the areas where the photographer may wish to take photographs
should ensure that where necessary the location has adequate fire precautions and signage in place
should consult with the customer, where necessary, of the location on any risk assessment they may have carried out and what actions were required and have these been effectively implemented
should share with the photographic assistant any health and safety concerns and if necessary the location management
should ensure that all equipment is maintained and safe to use, especially flash equipment
should ensure that all employees including those self employed are trained to use equipment safely
should take precautions to minimise any identified potential problems related to safety affecting the assignment and to any other people at the location.
Risk Assesments
Risk assessments are very important to identify any potential hazards that may be encountered either on the photographer's premises or on location. There are several risk assessments the photographer should undertake in relation to his premises. These include:
fire precautions
using display screen equipment (DSE)
manual handling
control of substances hazardous to health (COSHH).
Fire precautions relate to having adequate types of fire extinguishers, which must be regularly serviced; displaying escape and emergency signage and ensuring escape routes are free from obstructions.
With the increased use of computers and digital equipment for manipulating images it is essential to consider the people who use display screen equipment (DSE) for long periods of time. It is very important to ensure that the computer, the workstation and the working environment meet current safety regulations, to lessen the possibility of wrist and eye strain.
Most photographers at sometime have to lift reasonably heavy and bulky equipment, such as flash lighting. A risk assessment will highlight the potential damage to the human torso, which may result in long-term absence from work. Manual handling training can help people to store equipment at correct heights and how to lift objects. Also, a risk assessment can indicate where mechanical aids such as trolleys can be of help.
With the advent of digital imaging in the industry, chemicals for processing and printing (wet processing) are not so widely used. There are however certain products used which are hazardous, for example, batteries and printer ink cartridges, along with industrial cleaning substances. These should all be listed as required by COSHH on a risk assessment.
Electrical safety is also very important. All electrical equipment such as flash equipment, kettles, microwaves etc. should be tested (usually referred to as portable appliance testing) at specified intervals. The electrical wiring installation of the photographer's premises also requires testing at specified intervals. A competent person should carry out all testing and records of these tests must be kept.
Location safety mainly resolves around 'trips, slips and hazards'. Each location should be assessed to ascertain hazards and where possible to control these to reduce any injury resulting from an incident, especially to any member of the public. Photographers, their employees and the self employed should work within the framework of the Health and Safety at Work Act, and where reasonably practicable, take steps to ensure the safety of themselves and others around them.
My Goals
My short term goal is to build a portfolio of portraits. I plan on doing this by fixing up my van, then building a pop up stand to place in town centers to encourage people to get their portrait done at my studio which I still have to sort out but have made inquiries at a local shop. I will hand out discount leaflets to entice people.
My long term goal is to build on my short term goal and push into advertising.
Research Methods.
Title
I think the title is a very significant part of an image as it sets the insiewing scene for the whole story behind the image, it sets the president to what the image is all about. Without a title its just a picture that has no meaning no story no worth or point to a random viewer.
Topic/ Theme
The topic/ theme backs up the title by giving it substance, something to relate to or to make it identifiable, it puts things into context providing the building blocks, giving the image a reason.
Audience
It is important who you direct your work at as if it is directed at the wrong audience nobody will take note and all your efforts will be in vain. If you've created a body of work that artistically shows the demise of the local pub for instance, by photographing old pubs that have been turned into flats or are just run down and abandoned, an exhibition or a newspaper/ magazine article might be the way to go. Maybe sending samples of your work to advertising agencies if you want to go into product photography.
Approach
Your approach to a project should start with research, look into how other photographers have gone about similar projects. Read about the background history of the place, person, car, building etc. Build and store information to gain knowledge about the subject of your project. Take notes, carry a notebook and pen or some way of recording ideas. Keep going back to your research look at it from different angles to find different points of view.
Getting in
If you need to get into a restricted area or on private land you will need to seek permission and by having a well informed well written proposal makes your chances of getting that permission all the more likely to be granted, plus it gives you more chance to gather more information about the place you are trying to gain access to.
Proposal
A proposal could be made up from all of the above starting with your initial idea where it came from and where you see it going to, include all research and methods create a time line from start to finish stating how long your project will take to set up and how long it will run for where it is to be presented and how. A proposal will be needed if applying for funding, you will need to out line how much you will need and what its going to be used for. It is also a good guide for your future reference for similar or new projects.
Timeline
You need to work out how much time you want to devote to a project and how long it will be shown for or if its going to be an ongoing project. you also need to be aware that the longer something goes on the more money it tends to cost so keep that in mind when planning your budget.
Budget
If your looking to get funding you need to consider how long you plan to spend on your project and what your going to use the money for. You also need to think about where the funding is going to come from, are you going to fund it yourself or seek funding from government art bodies, private funders, grants or trusts each of the above may require different information or there may be different ways you need to apply. one might ask for a presentation of your resent work or a proposal via a meeting or email, so in every case good knowledge and understanding of the background of your project is a must.
Shadi Ghadirian.
Aeroplastics Contemporary presents the first complete monographic exhibition of the Iranian photographer Shadi Ghadirian. Coming to wide public attention in 2001 with the series Qajar and Like Everyday, the artist has ever continued to explore the theme of conflict between tradition and modernity, and that of the position of women in a society dominated by male stereotypes. Showing just beneath the surface appears the whole saga of the relationship between Orient and Occident, set within a world context that sees Iran, pulled between the will to reform and conservative retrenchment, at times placed beyond the pale, at others considered as an unavoidably essential economic and political partner.
Represented at the Venice Biennale since the 1960s, Iran withdrew after the revolution, to then again take up its pavilion place in 2003. Paradoxically, that year also saw the return of conservatives to power, after a period of reform that had sparked hope for a wider opening to the world, as well as an improvement of human rights and the status of women in the Islamic republic. The series Like Everyday(Domestic Life), which presents women entirely veiled, the face hidden behind assorted items of kitchenware, might appear an acerbic critique on the obligation to wear the veil. But the artist warns against a too literal reading of these images, and underscores that the theme woman-object unfortunately has a universal dimension. The series West by East plays with fashion codes to explore the same theme: in these portraits of women in Western dress, Shadi Ghadirian uses broad black hatching to cover those exposed parts of the body as well as coiffure, reminding us of the public prohibitions against exhibiting to view what one may banally see in the pages of magazines. The technique employed is simple and effective: the models are placed behind a glass pane upon which the artist intervenes – a method also used for the series Be Colourful. These investigations round a body at once hidden and revealed may be seen as far back as 1998, in the images comprising Out of Focus. As for her series Qajar, the title evokes the dynasty of the same name (1794-1925), under which portrait photography was introduced in Iran. Veiled and dressed as in times of old, posing before 19th-century décors, women presenting objects like a radio, a mountain bike or a vacuum cleaner, like a bridge between two worlds, built upon the rather futile, though so-human, need to possess. Further, the images that make up Ctrl+Alt+Delete subtly combine the gap between tradition and modernity with a query concerning the taboo surrounding the female body within Islamic society: positioned in front of a black background that she blends into, the model is at the same time revealed by the computer icons that go to delineate the form.
The new series White Square, Nil Nil and My Press Photos may seem an extension of these various themes, to which here the subject of war is added. For White Square, Shadi Ghadirian photographed (against a white, neutral background) objects of military use - helmet, canteen, ammunition belt, etc. - that she decorates with a little red silk ribbon. Removed from their context, these accoutrements of war appear at once menacing and delicate, their aggressivity tempered by the feminine element. With Nil Nil, these same objects penetrate the domestic space (hand grenade in the fruit bowl, bloody bayonet as place-setting, gas mask in the kiddies' toy bag, etc.): the menace of conflict grafted onto peaceful everyday life, while in a way also becoming contained by the tranquillity of the familial location. As for the collages that comprise My Press Photos, they combine images drawn from press-agency catalogues with old portraits of Iranian military men. Across time and space, war's violence sadly reminds us of its universal, essentially male, dimension.
Pierre-Yves Desaive
Critic and curator
Brussels, January 2009
Shadi Ghadirian My Press Photo #04 2005-08 B/W print
Ellie Davies (Born 1976) lives in London and works in the forests of the South of England.
She received her MA in Photography from London College of Communication.
Davies had her sixth solo exhibition in the autumn of 2012 at The Richard Young Gallery, London. Her work has recently been exhibited at Arles Photo Festival in France, The Noorderlicht Photofestival in The Netherlands, and the Singapore International Photo Festival, with touring exhibitions in 2013. In late 2012 The Open to Interpretation: Intimate Landscape Exhibition toured the USA including Gordon Parks Gallery, St Paul, Minneapolis, and Newspace Center for Photography, Portland, Oregon.
Solo shows in 2011 included Come with Me – New Landscape by Ellie Davies at ThePrint House Gallery in London, Smoke and Mirrors: Solo Exhibition at10GS in London, and Ellie Davies Solo Exhibition at Bruce Collections, Kiev in Ukraine.
Her work has recently been featured in Interior Design USA, Fraction Magazine’s 50th Issue, Circle Magazine-France, Snob Magazine-Russia, Fuzion Magazine, Photo+ Magazine-South Korea, Conscientious, Silvershotz, Lens Culture, Art Ukraine, Tree Magazine, Entitle Magazine, Urbanautica, F-Stop Magazine, Le Monde Magazine and The London Independent Photography Selected Artist Showcase. Recent books include WUD: Four Fictional Walks in the Woods, a limited-edition hardcover Photobook published by Tangerine Press in December 2012. Also,Open To Interpretation: Intimate Landscapes – Published October 2012, and Behind the Image By Natasha Caruana and Anna Fox.
Davies has recently been awarded an Honourable Mention in the Professional Women Photographers International Juried Exhibition 2012, ArtSlant Showcase Juried Winner, The Lens Culture International Exposure Awards 2010, 1st Place in the Fine Art Landscape category of the 2010 PX3 Paris Photo Prize, The Exeter Phoenix 2010 Audience Choice Award, ArtSlant Showcase Juried Winner in 2010 and 2011, and Commended in the LPA Landscape Awards 2010.
Her work is held in private collections in the UK, the US, Central and Eastern Europe, South Korea, Russia and The United Arab Emirates. WUD: Four Fictional Walks in the Woods has been added to the collections of the National Art Library at the V and A Museum in London, The Library Project Bookshop, the Glasgow School of Art Libruary, and is stocked in Foyles London.
Statement
I have been working in UK forests for the past seven years, making a number of bodies of work which explore the complex interrelationship between the landscape and the individual. Our understanding of landscape can be seen as a construction in which layers of meaning that reflect our own cultural preoccupations and anxieties obscure the reality of the land, veiling it, and transforming the natural world into an idealization.
UK forests have been shaped by human processes over thousands of years and include ancient woodlands and timber plantations. As such, the forest represents the confluence of nature and culture, of natural landscape and human activity. Forests are potent symbols in folklore, fairy tale and myth, places of enchantment and magic as well as of danger and mystery. In recent cultural history they have come to be associated with psychological states relating to the unconscious.
Against this cultural backdrop my work explores the fabricated nature of landscape by making a variety of temporary and non-invasive interventions in the forest, which place the viewer in the gap between reality and fantasy. Creating this space encourages the viewer to re-evaluate the way in which their relationship with the landscape is formed, and the extent to which it is a product of cultural heritage or personal experience.
The forest becomes a studio, forming a backdrop to contextualize the work, so that each piece draws on its location, a golden tree introduced into a thicket shimmers in the darkness, painted paths snake through the undergrowth, and strands of wool are woven between trees mirroring colours and formal elements within the space.
These altered landscapes operate on a number of levels. They are a reflection of my personal relationship with the forest, a meditation on universal themes relating to the psyche, and call into question the concept of landscape as a social and cultural construct.
Ellie Davies CV
ellie@elliedavies.co.uk
MA Photography, London College of Communication 2008
Lives and works in London
Solo Shows
2012
Into the Woods, Solo Exhibition at Richard Young Gallery, W8, 5th October – 17th November 2012
2011
Come with Me - New Landscape by Ellie Davies, Print House Gallery, London, E8, 21st Oct – 27th Nov
Ellie Davies: New Landscape at LBi, 146 Brick Lane, London, E1, 7th Sept – 14th October
Smoke and Mirrors: Solo Exhibition - 10GS, London, W1, 12th May – 5th September
Ellie Davies at Bayeux Imaging - Newman Street, London, W1 5th May – 5th June
Ellie Davies Solo Exhibition - Brucie Collections, Artema St, 55-b, Kiev, Ukraine, 16th March – 2nd May
Group Shows
2013
Forest Stories Autumn, Patriarshie Prudy (Patriarch Ponds), Moscow, Russia, 20 Sept - 20 Oct 2013. Curator Irina Zhuravleva, Partners: WWF, FSC (Forest Stewardship Council*) and Tetra Pak Russia, and Art Project FOREST*.
Affordable Art Fair Battersea, with Crane Kalman Brighton, 13-16 October, Hampstead
Affordable Art Fair with Crane Kalman Brighton, 13-16 June, Hampstead
London Art Fair with Crane Kalman Brighton, 16-20 Jan, Islington Business Design Centre
Arles Photography Festival Open Salon ‘An Eye for an Ear’- Hearing Nature
•China House, 153-155 Beach St, Penang, Malaysia, 28 March - 17 April
2012
Matt Roberts Gallery Photo Open 2012, Griffin Gallery, W11, 7 – 27 Dec
Matt Roberts Gallery,25b Vyner Street, E2 9DG, 12 Oct – 3 Nov
- The Griffin Gallery, The Studio Building, 21 Evesham Street, London, W11 4AJ, 6-28 Dec
3rd Singapore International Photo Festival, Art Science Museum, Singapore, 10 Oct-29 Nov
Noorderlicht Terra Cognisa Photofestival, JB Groningen, The Netherlands, 2 Sept – 7 Oct
Arles Photography Festival Open Salon ‘An Eye for an Ear’- Hearing Nature
BA (Hons) Photography, Kent Institute of Art and Design, Rochester
Solo Exhibitions
2010
Nummianus, Street Level Photoworks, Glasgow
La Posa, Goethe Institute, Glasgow
Nummianus, New Art Gallery Walsall, Walsall
2009
In Process, Pavillion, Leeds
2007
Nummianus, Wendt+Friedmann Gallery, Berlin
Nonsuch, 2piR Gallery, Poznan, Poland
Nonsuch, Architecture Centre - Beam, Wakefield
2006
Nonsuch, Andreas Wendt Gallery, Berlin
Nonsuch, Photofusion, London
A Scape, Focal Point Gallery, Southend–on–Sea
2005
A Scape, Andreas Wendt Gallery, Berlin
Group Exhibitions
2013
X-Border, X-Border Art Biennale, Konsthallen, Luleå, Sweden
Unnatural Selection, MC Theatre, Unseen Festival, Amsterdam
Tarantel 1, Künstlerhaus Bethanien, Berlin
Convulsive Walls, Departure Lounge, Luton
Alternatives: Borders and Boundaries, Ohio University Art Gallery, Ohio
2012
The Photobook Show, Finish Museum of Photography, Helsinki
2011
Fringe Focus, Phoenix Art Gallery, Brighton
On the Ephemeral in Photography, HotShoe Gallery, London
2010
Aktualizacja UK, Galeria Camelot, Krakow, Poland
The Skinned City, Yinka Shonibare’s Space, London
A Positive View, Somerset House, London
New Photography, Djanogly Art Gallery, Nottingham (Pavilion Commission)
2009
Strange Places, Stanley Picker Gallery, Kingston/London
Vision – A View of Life, Museum Künstlerkolonie, Darmstadt, Germany
2008
What Happens Next?, PM Gallery, London
2007
Landscape Photography, Sadler's Wells, London
Up & Now, Photographic Centre Northwest, Seattle
Open 06, Artsway, Sway
2006
PLUG, County Hall Gallery, London
2005
Grand Coalition, Wagdas Gallery, London
2nd Berlin Art Salon, Magazine and Glashaus of the Arena, Berlin
The Summer Show, Hoopers Gallery, London
The Summer Exhibition, The Royal Academy of Art, London
Divine, Andreas Wendt Gallery, Berlin
2004
Made in England, European Parliment, Brussels
2002
Urban Vision, Flowers Gallery, London
Publications
2013
“Granta Magazine”, Issue 124, August 2013
"History of Photography Journal”, Issue 3, August 2013
2012
"Spatialities: The Geographies of Art and Architecture", by Dr.Judith Rugg and Craig Martin, Intellect Publishing (UK)
"Behind the Image", by Anna Fox and Natascha Caruana, Ava Publishing (UK)
2010
"New Photography", 'The Secret Copy', Pavilion & Djanogly Gallery (UK)
"Earth", TNeues, Prix Pictet Art Prize (UK)
2009
"Art Review", December 2009 (UK)
"Architectural Review", September 2009 (UK)
"Polo bound for Passaic (Monograph)", Cornerhouse Publications (UK) and Schaden Verlag (Germany)
"Independent Photography" , Spring 2009 (UK)
2008
"fotoMagazine", Nb.10, October 2008 (Germany)
"Autoportret", issue 23, 2-2008, November 2008, Poland
"Time Out", issue 1952, 16th January 2008 (UK)
2007
"Tagesspiegel”, 15th Decemeber 2007, Germany
“Flash Forward: Emerging Photographers 2007” (UK)
"Fash N Riot", Issue 4 (UK)
2006
“New Art From London”, Thames and Hudson (UK)
"fotograf Magazine", Issue 8 (Czech Republic)
"Portfolio Magazine", Issue 43 (UK)
"The Independent" (UK)
2005
"The Times-T2" (UK)
"Hotshoe-Crude Metaphors", Issue 136 (UK)
"photo-london", Catalogue (UK)
2002
Urban Vision, Exhibition Catalogue (UK)
"Camera Austria", Issue 89 (Austria)
Awards
2012
UCA Research Fund
2010
Renaissance Art Prize
UCA Research Fund
2009/2010
Pavilion Commission
2009
Merck-Prize
Arts Council England
Voigtlaender New Talent Award in Photography
2007
Man Group Photography Prize
UCCA Research Fund
2006
Arts Council England
2005–2006
Arts Council England
2005
Hoopers Gallery Award
National Grid Transco Award
2004–2005
DAAD Educational Award in the Fine Art
2004
NGT Student Prize
2002
St. James Future City Award, London
Guest Speaker
2012
Conference “Expanded Photographies” organised by Southampton Solent University, Southampton
2010
Conference “The Burden of Photographic Theory” organised by Sunderland University, Newcastle
2009
“Framing the Urban” Rudolf Steiner House, London
2007
Symposium “Contemporary Photographic Art and the City” organised by Kingston University London, Bargehouse Oxo Tower, London
Symposium “Constructing Images – Fabricating Spaces and Framing Places” organised by the Research Centre at MIRIAD, Manchester Metropolitan University, Manchester
2006
"In conversation with Steffi Klenz” – Talk with Chris TownsendPhotofusion, London
Conference “Photography and the City” organised by University College Dublin-Clinton Institute for American Studies, Dublin, Ireland
Conference “Fictions Abound” organised by the Centre for Photographic Research at the University of Wales, Newport and Ffotogallery, Chapter, Cardiff
2005
"Forum Discussion with John Slyce” Hoopers Gallery, London
photo-London: Emerging Artists, The Royal Academy of Arts, London
I came across the photographers below whilst looking at the three web sights we where asked to evaluate for reading week which are, http://www.exitmagazine.co.uk/photography/ http://www.aperture.org/ http://www.aperture.org/
Marc Lagrange
http://www.2photo.ru/ru/post/8
Dmitry Noskov
http://www.2photo.ru/ru/post/31884
Michael Barr
http://www.2photo.ru/ru/post/31890
Candid photos of Chinese photographer Ren Hang
26-year-old Chinese photographer Ren Hang deliberately removes provocative work. In a country where society is very conservative and the arts are strict requirements that do not approve of such experiments, Ren is a new generation of artists and photographers, more open and free from cultural prejudices.
If you have an interesting point of view or a topic that you want to read more about, NoZombo can fulfill your wish. Our goal is to inform you, inspire you, to arm you with suitable weapons, to give you information that you can use daily and in that way fight against the unknown and unforeseen. Just visit NoZombo . Modern social life
Mother love: Sam Taylor-Wood tells a special edition of Harper's Bazaar, left, she loves her body for having fought cancer
If you have an interesting point of view or a topic that you want to read more about, NoZombo can fulfill your wish. Our goal is to inform you, inspire you, to arm you with suitable weapons, to give you information that you can use daily and in that way fight against the unknown and unforeseen. Just visit NoZombo . Modern social life
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