WEEK 6 PRACTITIONERS
SPEED LIGHTS, DIRECT , BOUNCING UNDER/OVER EXPOSURE, FLASH AND BLUR
| Nan Goldin |
- Born: September 12, 1953 (age 61), Washington, D.C., United States
This looks little over exposed my thought not sure if thats so. Definate soft lighting maybe bounced light. |
| Under exposed image |
| more flash light on the subject leaving a very soft shadow under the jaw the rest of the image is under exposed. |
Philosopher Rollo May’s daughter introduced her to the camera in 1968. Goldin was then fifteen years old. Her first solo show, held in Boston in 1973, was based on her photographic journeys among the city's gay and transsexual communities, to which she had been introduced by her friend David Armstrong. While living in downtown Boston at age 18, Goldin “fell in with the drag queens,” living with them and photographing them.[3] Unlike some photographers who were interested in psychoanalyzing or exposing the queens, Goldin admired and respected their sexuality. Goldin said, “My desire was to show them as a third gender, as another sexual option, a gender option. And to show them with a lot of respect and love, to kind of glorify them because I really admire people who can recreate themselves and manifest their fantasies publically.
| This is really nice gentle lighting only a lovely chin shadow |
Australian label Scanlan & Theodore commissioned Goldin with its spring/summer 2010 campaign, shot with model Erin Wasson in upstate New York. Commissioned by Italian luxury label Bottega Veneta, she photographed models Sean O'Pry and Anya Kazakova for the brand’s spring/summer 2010 campaign, evoking memories of her Ballad of Sexual Dependency.[12] In 2011, Goldin made an advertising campaign with model Linda Vojtova for luxury shoemaker Jimmy Choo.[13] In 2013, she photographed an advertising campaign for Dior titled 1000 LIVES, featuring Robert Pattinson.[14]
I didn t really enjoy Nans pictures yet I like real, different stokes for different folks.
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My other practitioner is
Martin Parr
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| Born | 23 May 1952 Epsom, Surrey, England, UK |
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| Nationality | English |
| Education | Manchester Polytechnic |
| Known for | Photography |
| Awards | |
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He is known for his photographic projects that take an intimate, satiricaland anthropological[2] look at aspects of modern life, in particular documenting the social classes of England, and more broadly the wealth of the Western world. His major projects have been rural communities (1975–82), The Last Resort (1983–85), The Cost of Living(1987–89), Small World (1987–94) and Common Sense (1995–99).
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| I would guess the direct light is on the cup and saucer.,narrow DOF hands look nice and natural. theres shadow between the fingers very subtle tho. Could be a fill in flash. |
The fundamental thing I'm exploring constantly is the difference between the mythology of the place and the reality of it.[6]:57 ... Remember I make serious photographs disguised as entertainment. That's part of my mantra. I make the pictures acceptable in order to find the audience but deep down there is actually a lot going on that's not sharply written in your face. If you want to read it you can read it.[6]:69,70
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| This pic just make me hungry, no shadows are really good pic not direct flash not sure which one he has used ? |
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| Heres some flash and blur |
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| Heres an example of a lighting set up. You can see the shadows of the fence which means theres a light there suggesting its late afternoon or a key light ? Then theres extra lighting on the subject suggesting another light directed on her. Not sure just my thoughts. |
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i would suggest this is a direct flash but theres no sharp shadows where there should be so not sure ''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''' |
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