Unit 23 – Photographic Media, Techniques and Technology criteria P 1,2,3,4
Just like in my still life we were tasked with taking a portrait image which draws inspiration from classical art, of course my mind immediately went blank and panic set in. Alexa, Sylvia and I decided that a trip to the national gallery was in order to actually view the types of Images we were to draw our inspiration from. Upon looking around the centuries of art in the halls I began to draw the conclusion that I wanted to follow my line of thought that I had with my Vanitas and do something broadly similar. I came across several Momento Mori style portraits and some portraits of monks in prayer and had an idea of what I wanted to do. Again I wanted to draw my inspiration from the paintings not simply replicate them.
Some of the images I looked at during my research. Like like the Chiaroscuro lighting in some of these images and wanted to do something low key as I love that effect and look in images. The creation and appearance of something coming from the dark.
Man in the hood
My initial idea was to do a momento mori portrait with Skull to tie in with my Vanitas as a common theme. I had noticed this running through several of the artworks I had seen in the gallery. With this in mind I ordered a large black cloak for my model to wear and obviously already had the skull from my still life. Just like with my Vanitas Still Life I wanted to give a nod to the portrait I had seen without replicating or imitating to much.
With this portrait task I decided that I wanted to do a much darker portrait and very much different to the norm. I wanted to not show the models face or at least only show part of it but leave enough in the Image that you knew someone was there. Again I tried several lighting approaches and schemes in the college studio and at home using speedlights and I really wanted a low key image and some separation from the black background similar to a Chiaroscuro effect I had in mind. I chose to rim light and feather the model to create this effect and feather the light onto the skull so that it only had minimal lighting so as not to overpower the image.
Initially I set the scene up in a small room with white walls, this was a mistake as no matter how low I put my flashes there was light bouncing all over the room due to the reflective qualities of the walls. I did a few test shots and quickly decied to use a large black surface behind my model to dampen some of the reflections which helped alot.
I used the 2 speedlights with snoots to help narrow the light as much as possible to pinpoint the shoulders and head and accentuate the skull somewhat. The test shots below show that initially I used the speedlights behind my model and at around 45 degree angle to the model facing away from the background. I quickly found that whilst this gave a great rimlight effect no light at all fell on the skull or the models face.
I then decided that directing the light toward the model from either side was a much better way of doing what I had in mind, It allowed me to not only light the model with a rim light effect but also to direct enough light on to the skull and a little on the models face so that the hood wasn’t just a black shape, I wanted you to know there was someone in there. I feel I have managed to give a nice nod of my head to Saint Francis in Meditation by Francisco de Zurban whilst making the image my own interpretation of this artwork.
THE FINAL IMAGE
For the portrait I chose a Fotospeed signature Cotton Etching 305 which is a 100% cotton Acid Free Fine Art paper with a white base. The surface has an slight etching texture which helps accentuate detail and gives a depth to your image.
Cotton Etching 305 uses the latest coating technology resulting in a wide colour gamut and pin sharp detail. Developing this paper with Doug Chinnery was such a pleasure as he understands not only his images but how a paper enhances them in a way a screen just can’t. We are thrilled to have Doug Chinnery on board as a Signature Photographer.”
I found this paper to be an excellent choice for the portrait as it wasn’t overly textured and had a nice smooth feel but being a cotton based media it held the ink well and had very nice black reproductions and sharp edges to the image. You can view the paper information HERE
Again as with my still life, I am extremely happy and proud of the way the overall image came out. I Love the lighting I have managed to create and the ambiance and atmosphere through the use of the snoots and finding the correct angle to just highlight the models face and give a little light to the skull. I have had a good reception to the image and even been asked for it on a canvas by a friend as she loves the image and the general feel of the work. Had I done anything differently I would maybe try some different approaches to the face and vary the lighting to see how they turned out, but overall I am extremely happy with the final image and print quality and how deep the blacks are.