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Portraiture Project Part 1: Portraiture Workshops Part 2: Independent, Experimental Portraits

Final deadline: Tuesday 19th November 2019

The Index

Part 1- Portraiture Workshops Slide 3 & 4: Uploading Order of the Project: Slide 5: The empty Assessment Sheet Slide 6: Example of a filled-in Assessment Sheet Slide 7 - 9: (Task 1) Response to Quotes task Slide 10: (Tasks 2 – 5) A list of the creative photography workshop tasks Slide 11: (Task 6) Artist Analysis Task Slide 12 & 13: Information on photographer, Lee Jeffries Slide 14: Artist Analysis questions Slide 15: (Stretch & challenge Task) Example of different air-brushing techniques: Slides 15 -19: Examples and guidelines to help with Tasks 2 – 5 Part 2 – Independent, experimental Portraits Slide 21: (Task 7) Artist inspiration for the independent, experimental Portraits Slide 22: (Task 8) List of questions and instruction for answering the ‘big question’ Slide 23: (Task 9) Instructions for the independent, experimental Portraits Slide 24 - 26: Examples of three different ways to create independent Experimental portraits Slide 27: Examples of independent, experimental portraits by a past student Slide 28: What to write for annotations Slide 29: Evaluation Questions 2

UPLOADING ORDER OF THE PORTRAITURE PROJECT (Part 1 & Part 2) Headline Post: PORTRAITURE WORKSHOPS Headline Post: RESPONDING TO A PORTRAIT BASED QUOTE BY A PHOTOGRAPHER Image Post: 1 portrait photograph by the photographer of your choice Text Post: add the name of the photographer, title of the photograph, year it was taken, the quote itself, the explanation of the quote and an explanation of whether you agree with this quote or not Headline Post: BLACK STUDIO PHOTOGRAPHS USING A 50MM LENS & REFLECTOR Image Post: Minimum of 3 black studio photographs edited in colour with annotations underneath Headline Post: WHITE STUDIO PHOTORAPHS USING 2 FLASH LIGHTS

Image Post: Minimum of 3 white studio photographs edited in colour with annotations underneath Headline Post: ARTIST ANALYSIS ON LEE JEFFRIES Image Post: upload the photograph that you analysed Text Post: upload the questions and the answers for the Lee Jeffries analysis that you completed Headline Post: BLACK STUDIO PHOTOGRAPHS USING 1 SIDE LIGHT


Image Post: Minimum of 3 black studio photographs edited in black & white with annotations underneath Headline Post: ON-LOCATION PHOTOGRAPHS USING A 50MM LENS & REFLECTOR Image Post: Minimum of 3 on-location photographs using natural daylight and a reflector, edited in colour with annotations underneath Headline Post: INDEPENDENT EXPERIMENTAL PORTRAITS Headline Post: 2 INSPIRATIONAL PHOTOGRAPHS BY ARTISTS Image Post: Upload the 2 inspirational photographs along with the names of the photographers / artists and paragraphs of writing Headline Post: The ‘BIG QUESTION’ Text Post: Upload the statement and your response to it (minimum of 250 words)

Headline Post: INDEPENDENT, EXPERIMENTAL PORTRAITS Image Post: Upload your completed edited 8 photographs with one piece of annotation covering the set of photographs. Headline Post: BRIEF EVALUATION OF PROJECT Text Post: Write a brief evaluation of the project


The Assessment Sheet 14 – 15: 12 - 13.5: 10 – 11.5: 8 – 9.5: 6 - 7.5

A grade B grade C grade D grade E grade


Example of how a filled-in Assessment Sheet could potentially look like 14 – 15: 12 - 13.5: 10 – 11.5: 8 – 9.5: 6 - 7.5

A grade B grade C grade D grade E grade


Task 1: Researching Artists Find a quote said by an artist or photographer specifically about portrait photography. If you cannot find suitable ones yourself, then you can select one from the list below. (Quote 1) “In a portrait, you have room to have a point of view. The image may not be literally what’s going on, but it’s representative” – Annie Leibovitz (Quote 2) “Sensitive people faced with the prospect of a camera portrait, put on a face they think is the one they would like to show the world …. Every so often what lies behind the façade is rare and more wonderful than the subject knows or dares believe” – Irving Penn (Quote 3) “A photographic portrait is a picture of someone who knows he is being photographed, and what he does with this knowledge is as much a part of the photograph as what he’s wearing or how he looks” – Richard Avedon (Quote 4) “It’s one thing to make a picture of what a person looks like, it’s another thing to make a portrait of who they are.”— Paul Caponigro (Quote 5) “I think if you don’t love people and aren’t fascinated by them, you’ll never succeed as a portrait photographer, because your pictures will look cold” – Rankin (Quote 6) “A portrait is not made in the camera but on either side of it.” Edward Steichen (Quote 7) “My job as a portrait photographer is to seduce, amuse and entertain.” Helmut Newton (Quote 8) “Like most portrait photographers, I aim to record the instant the subject is not thinking about being photographed, striving to get beyond the practiced facial performance, reaching for something unplanned.” Martin Schoeller (Quote 9) “I try to get my focus right so the eyes and the lips are the focus. Everything falls away so quickly because of the shallow depth of field. Everything else becomes secondary. So not only am I focusing on just the face, I’m even concentrating it more by having everything else look like it’s out of focus.” Martin Schoeller

The instructions and an example of completed quote response are on slide 8 & 9


The Instructions •

Find a portrait photograph by your first selected artist / photographer and add to your SWAY, underneath add in the title of the photograph and the date it was taken (if you can find this out). The photograph doesn’t have to link specifically to the quote.

Write in the name of the photographer and a quote by this photographer (this is something they have said about portrait photographs specifically and not on photography in general.)If you cannot find this independently, there is a selection to choose form on the previous slide.

Explain what the photographer has said in this quote in your own words

Explain whether you agree or disagree with the quote (therefore the quote you select must contain the artists / photographer’s opinion on something). Provide reasons as to why you agree or disagree with what has been said by the photographer.

In order to find portrait photographers, we suggest that you start by looking in ‘Lens Culture’, ‘Hunger’ and other on-line magazines.

Example of a completed response is colour coded on the next slide. However write yours in black.


The Example

Portrait of Che Guevara, 1964 The quote: “Photography is an art of observation. It has little to do with the things you see and everything to do with the way you see them”. Elliott Erwitt In this quote what Erwitt is trying to tell us is that he believes the way that a photographer looks at the subject matter in front of her or him is more important to the success of a photograph than what the subject matter actually is. I think that I would have to disagree with this point of view because although the photographer’s ‘vision’ is obviously crucial to the way that any resulting photograph will appear, surely what is in that photograph would have a more direct effect on the viewer. For example, I strongly believe that a viewer would probably react more strongly to a photograph of a dead baby bird that had fallen out of its nest than a still-life photograph of a bowl of apples on a table. I think that no matter how creatively the photographer had captured these apples and what atmosphere she / he had created within the scene, I believe that ultimately, it the emotional connection between the subject matter and the viewer will determine the success of the image.


Creative Tasks: (Tasks 2 - 5) Task 2: take a number of side / front lit photographs of your model in a vertical format in the white studio using 2 or

more lights and edit all 3 of them in colour using Viveza 2. Upload as a triptych (dividing each of the images up with a thin, black line, therefore the dimensions of the triptych will be 30.4 cm wide and 15 cm high)

Task 3: take a number of photographs of your model in a vertical format the black studio using a 50mm lens & reflector and edit all 3 of them in colour using Viveza 2. Upload as a triptych (dividing each of the images up with a thin, white line, therefore the dimensions of the triptych will be 30.4 cm wide and 15 cm high)

Task 4: take a number of side-lit photographs of your model in a vertical format in the black studio using 1 light only

and edit all 3 of them in black & white using Viveza 2. Upload as a triptych. Upload as a triptych (dividing each of the images up with a thin, white line, therefore the dimensions of the triptych will be 30.4 cm wide and 15 cm high)

Task 5: take a number of photographs of your model outside in a vertical format (standing at least 20 meters in front of the nearest background) using a 50mm lens & reflector and edit all 3 of them in colour using Viveza 2. Upload as a triptych exactly in the format shown on the tutorial. Upload as a triptych (dividing each of the images up with either a thin, white line or black line, therefore the dimensions of the triptych will be 30.4 cm wide and 15 cm high)


Task 6: Artist Analysis Select a ‘homeless’ portrait by Lee Jeffries, read information on Lee Jeffries on pages 11 & 12 and complete a written analysis by answering questions on pages 13 – 14.

Examples of photographs by Lee Jeffries 11

Lee Jeffries – Research & Information The following excerpts are from an article & interview with Lee Jeffries. The full interview can be found at: Please read the whole interview before answering the questions. Interviewer: How do you capture such strong emotion in your subjects? And how does photographing such emotion affect you personally? Lee Jeffries: My technique is as simple as being respectful and courteous. I have to gain the trust of the people I photograph long before any thought of photographing them. Only once this relationship has been established can I work in a spontaneous way. The resulting emotion is a document derived from the acceptance of my presence. Of course, when I’m done and back in the darkroom the sadness I endure is suffocating. I do try to channel that into the final image. Interviewer: Most of your portraits are closely cropped to reveal just the subject’s face. Can you explain your decision behind that? Lee Jeffries: It’s true… my images can be biased to front on views that closely frame the face. Processing in black and white reinforces the contrasts and shapes in the portrait. Infused with light and shadow, I make a conscious effort to place the emphasis on the relief of the face and the strength of the photograph lays in the emotional connection to the subject. I try to magnify the character… tell their story so that it is no longer possible for the viewer to remain indifferent. My photographs become an intimate and personal document which narrates a myriad of emotion”. Interviewer: Your passion for photography has evolved into a mission to draw attention to, and raise funds for, homeless people. What made you decide to take this path and can you tell us more about how people can help? Lee Jeffries: If only you could meet the people I have. See the things I have witnessed. I’ve walked some of the toughest streets around the world and have left screaming at the injustice. It motivates me to do more. My simple hope is that every time I take out my camera I am lucky enough to shoot a frame that ultimately has the power to influence. To change perceptions. To make the viewer care enough to want to know and do more. People “just” help when I achieve this and I have countless emails from them that tell me so.


Read the following article on Lee Jeffries: (below are some excerpts) In 2008, accountant and amateur photographer Lee Jeffries was in London to run a marathon. On the day before the race, Jeffries thought he would wander the city to take pictures. Near Leicester Square, he trained his 5D camera with a long, 70-200 lens on a young, homeless woman who was huddled in a sleeping bag among Chinese food containers. “She spotted me and started shouting, drawing the attention of passers-by,” Jeffries says. “I could have just walked away in an embarrassed state, or I could have gone over and apologized to her.” He chose the latter, crossed the street and sat with the woman. The eighteen-year-old, whose complexion indicated she was addicted to drugs, told Jeffries her story: her parents had died, leaving her without a kit home and she now lived on the streets of London. In an effort to make intimate portraits, Jeffries would try to connect with each person on an individual basis first. "I need to see some kind of emotion in my subjects," Jeffries says. "I specifically look at people's eyes—when I see it, I recognize it and feel it—and I repeat the process over and over again." Jeffries tries to keep the contact as informal as possible. He rarely takes notes, feeling it immediately raises suspicion, and prefers to take pictures while he is talking with his subjects to capture the "real emotion" in them. "I’m stepping into their world," he says. "Everyone else walks by like the homeless are invisible. I’m stepping through the fear, in the hope that people will realize these people are just like me and you.“ "When I’m talking to these people, I can't then leave that emotion, so when I get back to my computer so emotionally involved, sometimes I will start to cry when processing the image," Jeffries says.

Read the following interview with Lee Jeffries: (below are some excerpts) Interviewer: Historically, many images of homeless people may have verged on being exploitative. Are there steps you take to make sure your photos don’t

fall into that category? Lee Jeffries: I be myself. The primary motivation is not to take a photograph. It’s hard to explain and perhaps even harder for your readers to contemplate, but I’m never happier than when I’m out there on the street with the drug addicts, homeless, and forgotten. The adjustment back to normal life once I’ve spent weeks out on a project is perhaps the most difficult period of the process to deal with. I become very much involved and deeply connected to the people I meet. I often say, in a strange sort of way, I fall in love with each of them. The separation when I come back home is incredibly affecting, and it’s often in the post-process of my images that I completely lose it, emotionally. The exploitation accusation is something I grapple with on a daily basis. It tends to be levelled at me by people who have not had the opportunity to “get to know me” as the people I have met out on the street have. Negativity is a natural human trait. The images are full of love and respect. They aren’t stolen and are entirely complicit. The emotion I capture is a testament to the level of acceptance I’ve established. The macro benefits of the images for the homeless community as a whole are obvious. The micro benefits for the people I photograph are deeply personal between myself and them. Of course, I wish I could do more to help each one. I’ve spent many hours contemplating just that. “Could I have done more?”…”Can my love for them actually save them… save them from themselves?” These very thoughts are forming the basis for my next project. 13

Lee Jeffries – Artist Analysis Questions Add in the questions but take out all the words that are not in bold black when copying over to your SWAY 1. Background Information on the artist

* What year and country was Jeffries born in? * Discuss whether Jeffries studied anything art or photography based at college or university? If not, then explain very briefly how he became a professional artist / photographer and discuss his motivation for being an artist.

2. What is the context behind the series of photographs / images you are researching and what important concepts (ideas) is the artist exploring? * Give the title of the series of photographs, the year it was created and the title of the individual image you are analysing (if you can find this out). Also provide other basic information about the series of work only if it is relevant. * Explain the concept (idea) behind this series of photographs (with quotes by Jeffries or a journalist) and explain why Jeffries wanted to explore this theme / concept (with quotes by Jeffries or a journalist).

3. How are the main concepts (ideas) being communicated in the series as a whole and also in this particular image? •

Firstly explain how Jeffries is actually communicating his ideas to the viewer in this series of photographs (with quotes by the Jeffries or a journalist as evidence to back up what you have said). You need to firstly establish and discuss whether this has been done in a straightforward & literal way or whether it has been done in a symbolic way. Think - did you need to read an explanation by Jeffries (or someone else) to fully understand what the image is communicating to you or did you understand it just from looking at it and / or reading the title of the piece?

Then use the photograph by Jeffries that you have selected as an example to explain your points of view in more depth.

4. What issues have arisen whilst researching this artist? •

Discuss anything controversial that Jeffries has said in an article or in an interview(with quotes by Jeffries or by a journalist). Alternatively, you could discuss something controversial that Jeffries decided to do in order to take his create his images. Discuss whether you agree or disagree with what Jeffries has said or done (disagreeing would be better) and discuss the reasons for our opinions.


Stretch & Challenge Task (not assessed but useful to know for the future)

Select one unused unedited photograph from Task 2 and save it as a JPEG and call it ‘Before Portrait’ then: •

Firstly – edit it only by airbrushing using ‘Surface Blur’. Find the tutorial on the Desktop (Macshare folder > Student Shared Area folder > 2019 – 20 folder > A Level Photography 2019-20 folder > Podcasts & Tutorials folder > Cat’s Podcasts & Tutorials folder > No 16. Airbrushing. Ensure that you watch it all the way until 7 mins 52 seconds but do not watch after this, it will just confuse the task for you. However if you do not watch up until 7 mins 52 seconds, then the technique will not work properly. Call it ‘Surface Blur Portrait’ and save as a JPEG.

Secondly - open up the same unedited portrait again and this time edit it only by airbrushing using ‘Frequency Separation’. Call it ‘Frequency Separation Portrait’ and save as a jpeg.

Using ‘Surface Blur’

Using ‘Frequency Separation’

Finally - present these 2 different edits of the same photograph next to each other so that we can make a direct comparison between each one. (see images on the right for example)


Examples of Task 2 photographs: side lit / front lit portrait photographs using 2 or more lights (white background)

All portraits by Rankin


Examples of Task 3 photographs: Bouncing light back onto the face using a reflector in a studio envionment


SOURCE pert_advice/diy-three-faced-reflector-2947


Examples of Task 4 photographs: ‘side-lit’ portrait photographs using 1 light (black background)

Photographer: unknown

Liang Shi (not a professional photographer)


Examples of Task 5 photographs: Bouncing light back onto the face using a reflector outside (on-location)

SOURCE echnique/expert_advice/diy-three-facedreflector-2947

Emily Soto 19

Part 2: Independent, Experimental portraits


Task 7: Artists Inspiration • Start by selecting 1 from the 3 themes shown below • Find 2 examples of experimental portrait photographs by artists that are linked in some way to this theme as your inspiration and upload to your SWAY. Provide the names of the artists and place them underneath the appropriate photographs. * Write a paragraph of analysis, explaining why you believe that each of these images show elements of your theme (i.e. if you chose the theme of ‘Distortion’, then how is this image showing elements of distortion. * Write a paragraph explaining how these two images have been inspirational to your ideas. Theme Options • Distortion • Layers • Reveal and / or Conceal You can find artists on creative websites such as however you can also find hundreds of them on the Desktop: Macshare folder > Student Shared Area > 2019-20 > A Level Photography 2019-20 > ‘Artists in Themed Folders’ > ‘Experiments & Techniques’ folder or ‘‘People & Portraits’ folder. .


Task 8: Responding to the ‘big question’ Select 1 out of the following 3 statements. Discuss whether you agree or disagree with the statement and explain your reasons in depth. Can you find a quote by a photographer, a critic or a journalist (someone important) to back up your argument? You are required to write a minimum of 250 words for this. * Is it easier for photographers to take ‘an honest portrait’ of someone that they don’t know well rather than someone they know really well? * Does the success of a portrait photograph depends very much on the ‘face’ of the subject? * Is it easier to achieve success with ‘celebrity’ portrait photographs rather than ordinary portrait photographs because many viewers will believe …… ? * Is it more difficult to achieve an ‘honest’ portrait photograph of a ‘celebrity’ because they may want to only present a particular aspect of themselves to the viewer. * In beauty portraits, does the success of the photographs depends more on the skill of stylist rather than the skill of the photographer? * Should ‘Beauty’ portraits should always be considered as a ‘lesser’ art form than ‘character’ portraits? * Is it difficult for photographers to create ‘honest’ photographic self-portraits because there is always something that they will want to hold back from the audience? * Are photographic self-portraits the most honest way for artists to create self-portraits?


Task 9: Independent, Experimental Portraits Take a number of experimental portrait photographs of your choice in a ‘studio’ or ‘on-location (model of your choice, lighting of your choice, experimental method of your choice) Edit 8 of them (Make them a set of similar photographs but with a noticeable twist in each one) Advice • Present all of your 8 photographs in either a vertical format or a horizontal format. (Remember that if you decide to use a horizontal format, then you need to be careful that you don’t chop the top of your model’s head off or the bottom of the chin and also you might have to deal with the empty space surrounding your model. • Present all of your 8 photographs in either colour or black & white – do not mix and match.


Experimental Options

You can either do the experimental elements focusing mostly of one of the following methods: a) during the photo-shoot itself

b) using digital editing after the photo-shoot

c) using practical ‘arty’ methods after the photo-shoot

Examples of a) being experimental with ideas during the photo-shoot itself

Rankin This would be suitable for the theme of ‘Distortion’

Greta Tuckute This would be suitable for the theme of ‘Layering’

Nicola Davison-Reed This would be suitable for the theme of ‘Reveal and / or Conceal’


Examples of b) being experimental using digital editing after the photo-shoot

Alberto Seveso This would be suitable for the theme of ‘Layering’

Lorena Cosba This would be suitable for the theme of ‘Reveal’ and / or ‘Conceal’

Brett Canet-Gibson This would be suitable for the theme of ‘ Distortion’


Examples of: c) being experimental using practical, ‘arty’ methods after the photo-shoot

Hannah Gottschalk This would be suitable for the theme of ‘Layering’ (using a projector)

Hannah Altman This would be suitable for the theme of ‘Reveal and / or Conceal’ (using netting over a print)

Eva Eun-sil Han This would be suitable for the theme of ‘Distortion’ (using cut collage)


Example of work from a past student

b) Using digital editing after the photo-shoot

c) Using practical, ‘arty’ methods after the photo-shoot


Writing Annotations Writing annotations is an essential part of the course and you need to get used to doing this all the time. In the U6th projects, you will effectively be using your annotation to communicate your thoughts and ideas to the examiner. In your annotations try to communicate: • What you did, but only briefly (do not go into detail and avoid just saying what you did in a ‘step by step’ way, this does not gain you many marks. • Why you did something. • Your opinion on what you have done.


End of project evaluation questions The questions (add these in) * Do you think that you achieved what you wanted to achieve in this project? (Explain reasons for your answer in some depth).

* Do you think that your photographs are effective and of good quality? (consider composition, focusing and the actual content)

* Do you think that you really pushed your creative boundaries enough in your experimental imagery?


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Portraiture Project 2019 -2020  

Portraiture Project 2019 -2020  

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