Gilliver is a photographer who photographs mini figures in many different situations, his work inspired this image.
Long Shutter Speed, Photo Critique.
Sutter Speed: 8 Seconds.
I wanted to capture the cars passing around the changing colourful Concert hall. I didn’t have a tripod as I took this picture after work so I used a boulder with a flat surface and put the camera on a long shutter speed so me pushing the shutter would effect the camera.
The subject focus of the image is the SEE Hydro.
Due to it being late at night and no concert being on I had to wait until cars passed until I pressed the shutter. Due to there being a lot of light in this shot I had to muck around with the aperture and shutter sped until I got the hydr to look lighted but not overwashed in lights.
I like how the light trail in image curves around the road in front of the hydro.
Art Directed Shot, Photo Critique.
For my art directed shot I wanted to recreate a famous picture. I decided to recreate a homage of a homage which is The Clash Album cover for “London Calling,” by Pennie Smiths shot of Paul Simnon smashing his bass guitar against the stage.
Shutter Speed: 1/80 Seconds.
I used the college studio with the lights out a Dedo lights to light my model who wore all black and was holding a bass guitar to the ground.
The subject matter of this image is the “bass guitarist” smashing the guitar against the floor.
The image is a shallow depth of field with oly the model In focus. The background of the image is black as I was aiming for only the model and the Bass to seen.
I got the model to hold the Bass in different positions until I decided that the Bass could be resting on the floor. I had someone moving the Dedo light until I was satisfied to where the light highlighted the model enough and the bass, but also making a shadow of the models legs.
I’m really happy how this directed photo turned out after the little time I had to take it in.
If I was to recreate this shot again I would get extra people to stand at the edge of the shot, also I would add in another set of lights just like the album cover.
William Eggleston is a southern American born photographer born on the 27th of July 1939 to an aristocrat family, raised in Memphis Tennessee where he has stayed all his life and where most of his photos are take and focused on.
Eggleston has described his photos as “Life Today” his photos aren’t posed and are a spur of the moment, his pictures are photos that catch Williams unique eye on life.
At the age of eighteen William received his first camera which were all shot in Black and White. Not knowing anything about photography Eggleston taught himself from reading Kodak books he found. From his first photos its visible that Eggleston’s famous trademark of democratic photographs is the main focus of his pictures. Never naming his photos is another known trademark to Eggleston’s work, he believes that titling photographs is not what photography is about. He’s also known for never taking the same photo twice which is why his photos are so unusual but eye-catching. Henri Cariter Bresson is said to be an influence of Eggleston’s work.
In 1960’s Eggleston introduced colour to his photography, he told his wife that never take anything for granted, that every single space works and counts in a picture. The colour in his photos are ordinary life colours, and are a main focus and something that catches Eggleston’s eye and encourages him to capture its. Eggleston’s work is not portraiture but when his photos do feature people his photos invades people privately but in a gentle way that they don’t realise he has taken their photos.
Eggleston’s admires precision, like guns and cameras in fact he collects guns and cameras, and has a manmade case of Cannon cameras he has collected. Freedom, Days is Night, Night is Day is very clearly seen in his photos. Used to wake his children up all kind of hours to capture his children’s spontaneously.
His aristocratic life of drinking, sex, drugs and two houses for his family and mistress explains why his photos are unique and individual but influence to so many people.
First exhibition in mid 70’s by John Sushouski hewld in New York of by Modern Art, the wxhibition was described as anti clamatic. However Eggleston still inspires new and old photographers now and in the future.
The subject of this photos is obviously the red headed girl, who is staring directly at the camera. The girl is in the middle ground of the image, positioned centre of the image which draws the eyes to look at her instead of her surroundings. The picture is a shallow depth of field, with only the girl is in crisp clarity. The foreground of the image which is the cars front seats are blurry, along with the background of the photo which is the outside od the car. Although its blurry its easily made out that there is a fence and by the look of white in the background of the image, it seems that outside the car is very sunny which is why the white balance – just in the background of the image seems to be a little over exposed. The girl is looking at the camera as if she’s not bothered that her pictures being took, she looks almost tired. This picture doesn’t seem forced/staged. Like most of Eggleston’s photos it seems to be a spur of the moment shot, something the girl was happy to oblige to model for.
Due to clothing it is easily distinctive that this photo was took in the 70’s due to the earth tones of the green stripes, and yellow in interior and her 70’s style glasses.