Available Light Imogen Cunningham Natural light Low angle light Jan Groover Flash Light Bill Brandt Available light Brassai Spotlight Artists Type of light White light Matthew Hart Back light Candle light Lukas Kozmus High angle light Coloured light Projected light No light Light bulbs: Old or modern Available Light Photo-shoot Ideas Artificial light Projection Cello tape Shadows Light bulbs Candles and wax Pressed Glow Sticks Water Rubber bands Portraits Holding Light Close up Reflection Glow Paint Headlights Natural Light on skin Distortion Covered Bend Fire Body parts Smoke Torch Writing Twist Paint Wavy Scratches Curves Mood board Natural Light - Reflections Andre Kertesz

André Kertész was a Hungarian-born photographer known for his ground- breaking contributions to photographic composition and the photo essay. In the early years of his career, his then-unorthodox camera angles and style prevented his work from gaining wider recognition. Kertész never felt that he had gained the worldwide recognition he deserved. Today he is considered one of the seminal figures of photojournalism. Expected by his family to work as a stockbroker, Kertész pursued photography independently as an autodidact, and his early work was published primarily in magazines, a major market in those years. This continued until much later in his life, when Kertész stopped accepting commissions. In Paris he worked for France's first illustrated magazine called VU. Involved with many young immigrant artists and the Dada movement, he achieved critical and commercial success. His career is generally divided into four periods, based on where he was working and his work was most prominently known. They are called the Hungarian period; he photographed the local peasants, gypsies, and landscape of the surrounding Hungarian Plains., the French period, the American period and, toward the end of his life, the International period. This later period of his life is often referred to as the "International period", when he gained worldwide recognition and his photos were exhibited in many countries. In 1962 his work was exhibited in Venice; there and he was awarded a gold medal for his dedication to the photographic industry Kertész experimented with colour photographs, but only produced a few. Jan Groover

Jan Groover was an American photographer known for her formal inquisitions into still life, portraiture, and landscape, using both colour and black-and-white. Originally trained as a painter, Groover was an heir to Conceptual Art, European painter’s like Giorgio Morandi, as well as Edward Weston’s photography. The curator Susan Kismaric once said of Groover’s work, “By using photography instead of painting, Groover complicates the notion of representation, and emphasizes the capacity of photography to make works of the imagination. The drama in Groover’s pictures arises from the tension between the form of the picture and the things we know to exist in the world.” Born on April 24, 1943 in Plainfield, NJ, she studied at Pratt Institute in New York before receiving a fellowship to attend Ohio State University in Columbus. The artist’s work first came to prominence in the late 1970s with her still-life motifs. In 1987, she was the subject of a mid-career retrospective at The Museum of Modern Art in New York. Moving to France with her husband the painter Bruce Boice in 1991, she continued her formal experiments using a variety of printing methods including platinum-palladium. Groover died on January 1, 2012 in Montpon-Ménestérol, France. Today, her works are held in the collections of the Art Institute of Chicago, the Smithsonian American Art Museum in Washington, D.C., and the Los Angeles County Museum of Art, among others. Groover received a Bachelor of Fine Arts degree in 1965 from Pratt Institute, and a Master of Arts in 1970 from Ohio State University. Groover was noted for her use of emerging colour technologies. In 1979, Groover began to use platinum prints for portraits and still life's, transforming everyday items into beautiful, formal still life's. In 1987, critic Andy Grundberg noted in The New York Times, “In 1978 an exhibition of her dramatic still-life photographs of objects in her kitchen sink caused a sensation. When one appeared on the cover of Art forum magazine, it was a signal that photography had arrived in the art world - complete with a marketplace to support it.” Groover also used early 20th century camera technology, such as the banquet camera, for elongated, horizontal presentations of otherwise pedestrian items. In a New York Times review of Groover's work exhibited at Janet Borden Inc., New York, in 1997, critic Roberta Miller called Groover’s work “beautiful and masterly in the extreme.” Jan Groover Style Photography Shoot Edit One –Style of Jan Groover

In this edit I have changed the whole colour scale to black and white, the reason for this was because it made each piece of cutlery stand out against the others and due to the positioning if the light to the left as well as above it therefore highlighting the reflective pieces. When completing this photoshoot, similar to Jan Groover, I placed the cutlery in the sink and this similar toned base, makes the details in the objects more visible as well as sharper. To make the photo more dynamic I went on to add water over the cutlery which helps include a new element to the image as well as incorporate even more detail, this Jan Groover Photography being a large part of Grover's style. To create the image I have used Photoshop to enhance the contrast as well as exposure. This was done because it increased the light and captures the effect it has on a varied material. I also used the sharpen tool in order to showcase the pattern that is over the pieces, due to the different direction of the metal work, in which the shadows work with the varied heights in the cutlery, giving a range of reflections.

My Own Edit Edit Two and Three

The image on the left I have used a different perspective, in order to give an interesting aspect to the photo. I have used the close up setting on the DCLR camera and this has allowed the closer images to become blurred and other areas such as the descending cutlery ends to be in extreme detail. The cutlery that I have used also has scratches in it as well as dust and I believe this gives another element to the image context. Edit Four

In this edit I have used a black and white filter this was in order to showcase, once again, the range of tones in this particular material, with just one source of light and how it refracts and reflects this. I have also used the reflective material to my advantage, as it focuses in on it above surrounding it also bends what is shown, in this case a sink handle, and gives an abstract impression to the whole photo. I feel as though this type of photography works best in the black and white scale and this is because of the simplicity to the whole image as will as the clear differences in tone. The grey scale of the image also helps to enhance extra detail and in this case the scratches on the silver wear which gives the photo a more personal touch due to the use of the objects. In some areas the image looks slightly painted and this adds another element to the picture. I have once again increased the exposure to the image as it emphasises the lighter areas and makes the whole picture clear for the viewer. This image gives of the impression of contrasting views, this being who owns the cutlery? It raises this question as the objects used appear to be vintage as well as pristine. Yet the scratches and location give a sense of roughness and only needed for practical use rather then decorative. Edit Five Due to the vast amount of black and white edits that I have created with this photo shoot, I decided to explore the use of saturation and colour within this edit. To start the image I use the desaturation tool to remove any excess colour that was reflected by the surroundings, by doing this meant that one constant colour was seen through and this was a light blue, cyan colour. This was an appropriate colour due to the reflection that can be gained off the glass vase as well as the sky from outside being shown in the cutlery. To produce this I first increased the brightness throughout all aspects of the image as it made the context of the image clear and easier to understand, however by doing this meant that all the tone soon became similar to exposure was increased to separate the tones and the offset was lower to further improve this. The image gives a rabbit hole type illusion due to the angle in which it is captured. This over head shot causes the viewer to focus on the middle descending section and this is abstract look is given due to the varied direction of the cutlery. Edit Six + Invert Edit Seven For these pictures I have used and extreme close up shot and this was made successful with the use of the clos up setting on the camera which captured every detail in the metal work. I took the image at a direct angle in order to see the different elements of light that were given off due to the direction in which it was looked at, this meant that as the light came in from the left, areas of the right of facing the opposite direction from the light where also highlighted due to the reflective material. The edits that I have produced are once again in black and white and this was the most successful out of the series due to the detail that is shown. Although the exposure was increased it was not as high as previous edits due to the high aperture that was set, meaning a large amount of light was being taken in. however I did go on to lower the off set so that the darker tones were more apparent and richer for the viewer. I believe this edit best suit the style in which Jan Groover works. The reason for inverting this image was to see how the opposing colours reacted with the details range of tones. Although some tones were lost I believe this experimental edit was successful to an extent due to the use of dramatic influence the white has on the whole image. Experimentation – Edit Eight After competing edit six and seven, I went on to use this as a base to create a multiple toned piece that incorporated the various edits together, I have done this as it gave a more interesting look to the composition and the reflective tones have a better contrast when adjacent to each other. For this I took small sections from the one image and edited then in different ways to get lighter and darker tones within the picture, as well as inverted looks to showcase the highlights and shadows. This caused various layers to be made in order to complete the piece. This experiment in tone worked out well due to the detail that was shown within every section, in both lighter and darker sections due to the sharpen tool that I used across it all. Edit Nine

For this image I have increased he contrast dramatically and this has given the image sharp and bold impression for the viewer, this has a overwhelming type of look as the variations in light as so clear cut. The reflections are also given off well, especially within the closest knife and you can see the detail of the other metals. With this I plan on looking in to distorted editing and experiment with this technique. The angle that I have taken this image from is an interesting one, and this is down to its circular ring of the vase giving a endless impression as the size of the cutlery sinks into it. The forks that are directly above the lens has given an already distorted feel to the image as they become blurred and then refocused as they distance themselves. Research: Fragmented Photography

This type of technique is most commonly associated with portraiture and this develops into a hidden identity theme, however I hope to test this with everyday objects as once edited the light tones with give an interesting aspect to my image. Fragmented Photography Edit Ten

For this edit I used previous research to look at the technique of fragmented editing, and I have tried to copy this using the most what I believe is my most successful in this series, this is down to the multiple aspects that are occurring in the composition. The angle of this is interesting due to the growth in size of the cutlery pieces towards the camera as well as the circular motion it gives due to the vase it sits in. this is also a well exsiccated piece due to the two types of materials that give off different reflections and shadows. The reason for editing this particular image is down to the multiple elements that it holds such as the high key lighting in certain areas as well as darker shadows behind the covered cutlery by other pieces, giving a cluttered impression. I have also chosen this specific type of cutlery due to the worn and used nature it has and this come across within the scratches that I have sharpened that sit central to the image, that add another level of detail to it. Edit Eleven

In the edit I have experimented with the use of vibrancy as well as saturation as it gives a new impression for the viewer. I believe that it gives a cartoon atmosphere due to the mix of colours that are separated between the shadows and highlights that is cast over it. This is further enforced with the white that sits in varies place across the picture, that contrasts against the purples and darker colours next to it. I also believe it gives a pop art feel due to the types of colours that are in it, such as the purple and blue like filters that are in each piece of the picture. Although the most successful edits of this shoot are in black and white, this experimentation with colour have given a bizarre impression to the edit. Development Of Photoshoot One – Mirrors and Water Daniel Kukla

One of the most recent works of photographer Daniel Kukla is his “The Edge Effect” series which features perfectly square mirrors propped up on an easel and angled to reflect the horizon. The easels were strategically placed around the Joshua Tree National Park. The viewer has the distinct feeling of looking at a photograph of a hyper-realistic painting. Daniels also has a background in both biology and anthropology. For close to a month last spring, the Brooklyn-based photographer lived alone in a cabin in the northwest corner of the national park. Armed with a camera, a large mirror and a painter’s easel, he set out at dawn or dusk every day to document the forces — human, environmental and geologic — that give the park its variety and vitality. Each of the resulting tableaux feature one landscape mirrored onto the backdrop of another, creating two opposing scenes in a single visual pane.

Daniel Kukla’s practice is motivated by the constantly evolving narrative between humans and nature. How can this interaction, tension, and history be imagined in a new way in light of the monumental changes and growing destructive forces that humanity exerts upon the Earth? His training in biology and ecological sciences has greatly shaped how he approaches the research methodology in his art practice. His working process shares some of the same core principles of sciences: immersive field research, interviews, observations and balancing these tasks with a freedom of exploration that takes into consideration accidents and chance. Edit One – Exploring Brightness

For the new photoshoot I have decided to experiment with the use of brightness within the images and this has been shown above. I have once again used the monochrome colour scheme as it best shows off the light in the reflective metal. In the first edit that contains the most brightness causes some of the detail in the furthest depth of the image to be lost; however, the closest elements such as the water droplets each have a range of colour tones that are interesting as well as of a high quality. The middle tones is the best due to the sharpness and colours that are not over powering, although the darkest edit gives a darker impression. The composition as a whole is successful due to the same image presenting different emotions and atmospheres. Edit Two and Three + Invert

For this edit I have used the sharpen tool to enhance the detail within the middle of the image, as well using the blur tool to the closest areas towards the lens. I have experimented with the use of water and mirrors to add another element to the image. Due to the use of the blur tool it gives the impression of movement and this also adds to the light reflections as it changes across one piece of cutlery. What stands out the most in this image is the sharpest and central section being the cross of necks of the middle fork and spoon, this is down to the constantly changing tones as well as the contrast being increased this has made the line details stand out against each other. I have also found that the front image has more negative connotations due to the sharp edges that point towards the camera whereas the blunt ides face away and give a less menacing sense. Edit Three Burning Light Candle Photoshoot

Edit One and Two To start my edits for the candle series, I have used a black and white filter to emphasise the range in gradients of the various states of the wax. For this I have enhanced the exposure, in order to showcase the highlights and areas in which the light hits; however I have reduced the brightness so that there was a simple black background with only the main light as a focus point. I have done this as it adds a dramatic impression with the low key lighting and this makes both images seem significant. Within both images are the clear spots of melted wax which gives it a warming feel even in the monochrome scale. I have also chosen these outcomes as with the burnt wax it gives a more personal to the image and highlights how this is not a perfect look. Edit Three

For this image I have used the same monochrome look once more as it was successful in the previous edits. However after using this as a base inspiration I have found that when experimenting with offset and gamma, in exposure, it gave off a animated look as certain points of the image became blurred and made into a block colour. The original image was taken at his angle and I feel as through it does not need to be rotated because with the addition of the black background, it also adds mystery.

I don’t believe that these series of images are as strong as my natural light reflections; however, they have allowed my to experiment with the use of fire that cannot be controlled and it demonstrates the state changes it can make. Edit Four and Developed Layering To showcase a range of edits I have backed away from the black and white colour scheme that I have previously used, and experimented with enhancing the saturation on my images, as show here. The first edit I have produced has extremely high saturation levels, and to give off the warm glow that it was lacking from the original I have edited colour balance and increased the levels of reds and yellows. I have also increased the level of exposure to show off the brighter sparks that the wick hits against the melted wax. Where I have tried to focus the camera, light has reflected back and caused small speck, known as the lens flare, however this has given the image a more realistic and movement of light impression due to its flaws. To further develop this unstill effect I went on to use layering to add another dimension to the piece. I found that the work became too over bearing and the slightly unlined nature made it has to see what the image was clearly, so I have bought down the vibrancy and with the lowered opacity it has created a successful image. Edit Five – Experimentation with gradient Edit Six and Seven Edit Eight Electric Light Mitch Martinez

Mitch Martinez is a Philadelphia-based director of photography and cinematographer. Over the past 2.5 years, he has been working on building a free library of 4K stock footage. Since its inception in January 2013, the collection of clips has become an impressive resource: the 1,500+ clips have been downloaded over 300,000 times, and they been used by some of the largest companies in the world. Mitch Martinez has a tendency to “think of the most complicated and unrealistic thing that he can imagine – and then try to do it” When Mitch first decided to build his Time Slice Matrix style 48 camera rig he didn’t have a specific project in mind or even a plan of how to make it all work he just wanted to push his own creative and artist boundaries. He started with a film series in which he captured a short clip of the light turning on and off and this is has been done with a close up shot that showcases the shadows around the glass bulb and the shadows in the background, Martinez went on to do this with a range of types of bulbs. Photo Shoot - Mitch Martinez Style I have chosen these six image as my most successful shots without edits due to the sharpness of the picture and range of tones they all give off. Although these images are successful without the addition of Photoshop editing I will experiment with this and how the range Successful Original Images of colour schemes can effect he impression that is put upon the audiences. As well as after looking into Mitch Martinez’s work I hope to create a similar style in his colour scheme and shadows. Edit One – Experimenting with layering

On this page I have looked at layering some on my distance images and this is shown below, I have done this as it creates the impression of light bring visible from every angle, as many of the photos have been taken at various perspectives. I have found that the coiled filament has a fun and playful impression to the viewer and this use of multiple version of this , give the image a lively nature. I have chosen not to edit these images with colours or brightness as they are successful without any manipulation. Due to bright colours that are warming and show off their versions in brightness, without added editing. The black back ground gives the photo a mysterious look due to the actual bulb being barely visible, similarly to my candle edits previously. Edit Two – Edited in the style of Mitch Martinez

For this edit I have tried to imitate the style of Mitch Martinez and this proved a challenge due to the lightness in his own image, compared to my low light dramatic series. However to produce this I went on to increase the brightness it order for more of the light bulb to be seen rather then just the filament in which the light comes from. I think was forced to change the tone to black and white and from this then add a tint to the image in order to get the iconic brown shade that the artist is renowned for. I believe the most successful element to the image was the type of bulb that I have photography due to it bare components that allow all the light to be absorbed. However to further improve this style I hope to create a moving video or image that show the light being turned on and off, like Mitch Martinez has done. Edit Three

This image has been influenced by the style of Mitch Martinez, I have taken a old fashioned light blub that stands alone without a shade and bares all the filaments and wires. I have used an extreme close up setting on camera and this allowed me to capture each detail of the light, including the shadows and reflections off the glass, that surrounds it. The reason for taking this photo shoot was to show that light can be both natural and artificial and now allows me to look into both area of the topic for my project, I had specifically chosen this bulb as it exposed all it contained and I admired to idea of the light being used to its best. To produce the original image, I have used a low angle shot that was done from the bulb being lit in a dark room and the close up setting; I chose this over the manual setting as getting the right exposure and length of time for this proved too difficult and caused many photos to be too bright or blurred. The edit that has been produced was made on Photoshop. I originally changed the colour scale to black and white and this made the actual glow of the light itself seem brighter, to enhance this look I increased the exposure which helped to show the other elements to the bulb, and therefore I could get the same, if not better, effect then I would if I had done his technique with the camera. Although I have created an edit that is in black and white I have a preference for the original image due to its orange colour scheme. The original has a warmth about it and this makes the viewer seem invited and has a welcoming ambience, these complimenting tone give the image more depth and showcases what types of light there are and how each variation gives off an atmosphere in the room. However in the black and white edit, the higher light intensity is shown better due to the range of tones throughout. The original image gives the impression of a bright life due to the colour scheme however the edit gives the idea of life dying out, this is because of the dark background that is unfilled; however it also suggests new life, in the centre with the bold purity of the white tones. Edit Four

For this edit I have used this particular image as it incorporates the whole light bulb better then many other photos I took in this photoshoot. This low angle shot, includes both the bulb and filament without giving the audience any extra unnecessary space on the location of the image. The angle also creates the look of a sunset shape and this idea is reinforced with the use of colour from the edit and the faded edges to black, and this gradient change was done with Photoshop. This makes the image slightly abstract in the way that we see the sunset above us rather then directly in many cases of photography, including a horizon line. To give this look, I used a photo filter on the image which gave a cooling aspects as the image was washed over with a blue tint, and from my previous increase in saturation and colour balance so red was a major colour, this gave the purple and orange tones, that compliment each other well. After competing this edit, I then used the PowerPoint correction setting to sharpen the whole image and this made each section bolder and clearer, adding to the sunset impression. Edit Five

This is an extreme close up shot of the light bulb, that particularly looks at the lower end of the light and the reflection that it has on the base of the glass. The reason for taking the photo at this angle and distance, was to showcase all of the light from its original source, rather then the effect it has on the room, or objects around it. For this image that I have edited I decided to use a black and white colour scale and this was to give the image a powerful look and make each colour tone stand out against one another, which I believe has worked. Due to the dark tones it gives the image a distorted look that it dramatic and some work mysterious that's created with the dark background. Although the tones are sharp and striking the lighting itself is soft and thing is down to the curves of the light and that gives a calming atmosphere. This is because of the particular bulb that I have photographed, rather then using a circular bulb it highlights how light can change and alter in different settings. The dramatic look, comes from the clear separation between the tones and the extreme enhanced white light adds to the intense impression. This also poses question for the viewer as although the light is dominating it does not reveal any information as to where it is situated, and what surrounds it. Edit Six

For this image I used my previous edit as shown on the slide before and used the inverted tool on Photoshop, to get the opposing colours. This made the whole image lighter due to the range of whites and greys that make the image clearer to see what it is. The light has changed the glass to become sharper and therefore gives a harsher viewer to the whole composition. I believe that this edit has a odd likable quality about it due to the bright and quirky nature of its look. The juxtaposition in colours also add to the surrealist impression it gives off. Edit Seven – Inverted The reason for producing this outcome was to compare and contrast the different tones that the opposite colours can give off. From the original image it is clear that the atmosphere portrayed in uplifting and welcoming due to the warm colours of red and orange; however, in the inverted edit, a different tone is revealed. This being a colder and less inviting impression. The cold colours of blue and ice whites imply a clean and serious nature, this is further enforced with the white background that simply separates the two tones and adds emphasis to the image, and its isolated surrounding, this differs in the original, as the black background also gives off a mysterious look, due to the light not reflecting on the setting but only itself. The high key lighting and the low angle shot combined, add to the dramatic vibe and this causes the viewer to consider possible locations in which the image may have been taken and why that photographer felt beneath the superior light. Tord Boontje

Tord Boontje is known for his expression of romanticism in contemporary design. Some of his designs are whimsical and light-hearted; at the same time they can connect with strong emotions. “I’m interested in creating elements for everyday life that are exciting and uplifting to live with” says Boontje. With a strong interest in storytelling, nature, decoration, materials and technology, his work has an experimental approach. The results can vary from the ornate to the minimal, from the handcrafted to made-by-robots. Tord Boontje is originally from the Netherlands and his education at the Eindhoven Design Academy and the Royal College of Art in London set the foundations for Studio Tord Boontje. Established in 1996, the studio’s early projects were already in the area of mass production as well as experimental one-off pieces. The studio has since worked with international companies on a range of products that includes lighting, graphic identity, textiles, ceramics, site-specific installations, and furniture. This extremely creative and prolific studio responds to and leads trends. An interest in social issues grew into working with artisans in developing countries and led to projects in Guatemala, Senegal, Rio de Janeiro and Columbia. The studio has grown, evolved and travelled. They spent 5 years in rural France before Boontje decided to return to London in 2009 and engage with education, taking up the challenging appointment as Professor and Head of Design Products at the Royal College of Art, a Buzz position he held for 4 years. A golden jewel of a pendant light, this lamp has a hanging honeycomb structure made in perforated As an industrial and furniture designer, Boontje has developed a wide range of products – accessories, lighting, brass to form a bee hive that radiates a dramatic furniture, textile products, tableware, and packaging – for numerous companies, including: Studio Tord Boontje for Target, a Christmas collection of more than 35 products and a design concept for packaging, in-store silhouette. Additional golden bees can fly in to inhabit environment and advertising campaign (2006), Alexander McQueen, Chi Ha Pura, Swarovski, Moroso, Artecnica, the hive and make each lamp an interactive Habitat, Kvadrat, Nanimarquina, Authentics, Swatch, Perrier, Jouet, and Salviati. Studio Tord Boontje has created experience several limited production collections and unique works have also been commissioned by British Airways, London; the Delano Hotel, Miami; and the Covent Garden Building, London. Light Bulbs Photo Shoot After looking into Tord Boontje’s work, I then went on to explore the way in which the type of bulb and shade can affect the way in which light is presented. I visited IKEA’s lighting department and this allowed me to look and a range of quirky and innovation lamp shades that gave off different effects and emotions to the viewer. Edit One - Greyscale This image is of one of the many interesting and quirky lamp shades that I found on my IKEA photoshoot. The shade what made out of a tissue paper like substance and when photographed became almost transparent due to its think nature. While editing I increased the exposure in order to showcase the variations of brightness through this material and this was shown off really well, due to the over lapping of the material making it clear in places with darker tones in others. I then also went over the image with the burn tool in order to create even darker tones and add contrast, amongst the shadow that were already visible. Although my colour version of this is successful it was important for my to look and investigate whether grey scale made a light’s brightness alterations, more visible. So this edit has allowed me to test this. I believe that the black and white edit is not as successful due to its lack of boldness and ability to stand out towards an audience; although, the edit is respectable it lacks this inviting nature that my colour edit holds.

Original

Exposure added and Burn tool Edit One - Colour Version After experimenting with both colour and black and white edits of this type of lamp shade I then when on to use another on in this series that is slightly Edit Two off centre and also includes the background lighting. For this I had also zoomed out to take the image and this allowed the viewer to understand even more what the image is of, if it was not previously clear. I have reverted back to using black and white and when first seen in colour it was very similar to my first edit. For this I firstly decreased the brightness, as that background had small pockets of background light that gave an unprofessional look. I then had to crop the image as the shop label visible, giving off the same impression. After using the burn tool to once again enhance the different shadows I use the black and white filter to show the folds and crinkled material in better detail. To enhance this is also brushed over the centre with the sharpen tool to ensure that all areas with precise detail were picked up on, and to show how the camera had picked it focus point of the centre I also used the blur tool, to further highlight the centre of the image. It is clear to me that the bulb is not as obvious as my previous edits and this time has blended in more with the background, however I do not see this as an issue due to my intentions for this project to be showing how light hits certain surfaces and can affect them in a particular way. To show the difference in this the image below is done in a similar style to my first edit yet I feel as though this does not give as much highlight to the background or rest of the image so I feel it is less successful. Edit Three and Four

For both of these edits I have given them a photo filer of colour and this has worked well due to the high exposure of the central light blub providing no other colour then white which can not be altered. The angle in which both of these are taken is quirking due to the slanted angle of edit three that incorporates the shadows below, capturing the whole light shade but little of its surroundings, and edit four focusing solely on the central section and using a direct angle. I have avoided looking at the lights from below as it hoped to give a more interesting view on light. I think that the open wire shades give a more exposing look to the light and this has worked will with the reflective material with captures the light without confining it, similar to the Mitch Martinez style bulbs. For both edits I have also increased the saturation as this gave a warm glow to the whole composition, and this has worked well due to the light that is reflected back is no longer white and provides not impression for a viewer. The brightness and contrast were also increased as it made a more definite separation between the colours and tonal ranges. Edit Three and Four – Black and White Version

With my previous two edits I have produce them successfully, and this has allowed me to look into the black and white versions of them. I have done this as many of other edits has turned out well when in this scheme and the light has been shown off well in them. Within my colour edits I have found that the light has hit the reflective metal beautifully and this has made the different coloured metal look magical in a way that capture the viewer, although by turning this into grey scale, colour has been lost but the reflections have become even more visible and emphasise the impact the blub has. This also links well with my Jan Groover style work at the beginning of the project, which was also successful in demonstrating the metal work and the way light changes this. Edit Five

For edit five I have looked into using an image that does not just have one blub in, but with multiple, as show here. When exploring IKEA they had a display in which several lights were hung closely together all identical. In my opinion they gave off the impression of Christmas lights due to the curly filament. To start my edit of these I increased the exposure to showcase the light as well as the light what was spotted around the glass bulb with specks from the lights that surrounded each other, to ensure that this was clear I used the bur tool to decreased the rightness of the shadowed areas and the busy background. I also experimented with offset, which gave a aged looked to the image and enhance the brightness of the light. Then I used the black and white filter to produce this look it was successful because of the contrast in colour around each section. To show off another level of skill also added in two identical layers and by changing the opacity and positon of the pieces I created a moving impression. My intended message for the piece was to show that although the lights are all identical the effect they have on the surrounding materials are all different. Edit Five – Coloured version Edit Six

The name of this lamp shade was known as the ‘Death Star’ due to its opening and closing fashion, with its circular shape, so to develop this fun and innovative idea further this edit was created and one I was happy to edit. The reason in which I did not photograph the light In its fully open state was because I felt as though too much light was visible and also seemed to over crowed with the number of framework that when into its production. To start this I used the exposure tool to highlight the areas I which the lift seeped through, and this created a glowing look to the outside materials. It also enhanced the metal work to be brighter and with added contrast I found the lines of light became clearer and sharp giving off a gallant impression. The use of offset also helped in this case as it meant that once applied It gave the image the old time look I was after to link back to the star notion. I then change this to grey scale as the original was close to this as the outer shell was white, it also added in the striking and dominating impression I was after. This image is once again of Edit Seven the death star but its angle has changed to be below. This is once again not at its fully open state, but I feel as though all of the mechanisms are well captured as they stay close to this light source. There is also a sense of wonder in this image due to the perspective I which it was taken due t the hidden impression it gives as I have left in the outer shell which cover the magnificent inner core. The various directions of the metal work also helps to create a light that is followed throughout the many paths. I have kept this edit in colour unlike my one previously as it shows how bright the inside colours were and the bronze glow it had, the light works well as it reflects off the metal work with still reflects this again onto the plastic material also giving it a warm glow. Edit Eight

Within this image I have looked at how glass can alter the way in which an image looks, from the IKEA lighting shoot I have used the wall hanging from slide 49 and photographed the blub through another. The circular reflections has captured the lighting around the bulb in front but also taken the reflections from which is behind the camera giving a new perspective to the piece. Edit Eight - Lightened Edit Nine

For this edit I have used an extreme close up shot for this particular bulb because of the detail it holds inside the glass. To created this image I started with cropping out the background and wire that it was attached to, this was to give primal focused of the blub and nothing else as it as complicated enough in itself. Then by decreasing the brightness the solid black background was produced, the reason for creating such a dark background was for once again the soul focus of the bulb, but it also gave a subtle warming look as, an opposite end of the spectrum, using white would be over powering for a viewer. This then left a perfect , circular and almost symmetrical bulb that I could enhance with colour and exposure. Similar to edit seven, I increased the saturation which gave off a warm bronze like glow, this reminded me off a sort of sunset with in resemblances in shape and colour scheme. As well as the angle not being directly under, made an interesting view and the ability to see the whole bulb and its mechanisms. The original image had a very simple colour tone range and hardly varied making it plain and viewer attention. Edit Ten

Original Edit Ten – Colour Version Edit Eleven Idris Khan

Idris Khan (born 1978) is a British artist, based in London. Khan's work draws from a diverse range of cultural sources including literature, history, art, music and religion to create densely layered imagery that is both abstract and figurative and addresses narratives of history, cumulative experience and the metaphysical collapse of time into single moments. Since 1959 Bernd and Hilla Becher have been photographing industrial structures that exemplify modernist engineering, such as gas reservoirs and water towers. Their photographs are often presented in groups of similar design; their repeated images make these everyday buildings seem strangely imposing and alien. Idris Khan’s Every... Bernd And Hilla Becher... series appropriates the Bechers’ imagery and compiles their collections into single super-images. In this piece, multiple images of American-style gabled houses are digitally layered and super-imposed giving the effect of an impressionistic drawing or blurred film still. The structures in the Bechers’ original photographs are almost identical, though in Khan’s hands the images’ contrast and opacity is adjusted to ensure each layer can be seen and has presence. Though Khan works in mechanised media and his images are of industrial subjects, their effect is of a soft ethereal energy. They exude a transfixing spiritual quality in their densely compacted details and ghostly outlines. ...Prison Type Gasholders conveys a sense of time depicted in motion, as if transporting the old building, in its obsolete black and white format, into the extreme future. Khan's photographs or scans originate from secondary source material – for instance, every page of the Qur'an, every Beethoven sonata, every William Turner postcard from Tate Britain, or every Bernd and Hilla Becher spherical gasholder. Khan's interest in Islam and layered imagery can be traced back to his upbringing. It was his father's idea that Khan – himself a non-practicing Muslim – photograph every page of the Qur'an. His work and process have been described as "experiments in compressed memories"[ and "all-encompassing composites." As Khan describes: "It is a challenge to not define my work as a photograph but using the medium of photography to create something that exists on the surface of the paper and not to be transported back to an isolated moment in time." Edit Eleven – Style Of Idris Khan

After discovering the work of Idris Khan I tried to mimic his style within my own subject of work. After using the photoshoot from IKEA I choose these lights as they already had multiple bulbs attached and their tangled wires added to the effect that Khan gave off. Although this is not like Khan’s building work, I hope to use this inspiration and potentially look into lighting in urban spaces. Light sources in Florence, Italy – Photoshoot Edit One

For this series of edits I have looked at more impressive scale types of lighting, including street lamps and grand chandeliers that appear in Italian Palaces. The first edit I have created is of one on the grander types of lights, in which there 60 surrounding candle shaped lights, on the outside ring alone. The angel in which this was taken shows the pompous nature that is displayed with these features and how rich the people that own them are as I have tried to fit in the wide stretching piece. I have created this is black and white to show off how without the use of colour and other decorative elements even the light is striking and impressive in aesthetics. Within the original I have found that it is too busy to be fully clear to a viewer and by lowering the brightness it has eliminated unnecessary detail. With the exposure increased it also shows off the most striking areas of the piece Edit One – Colour and Distance Change

For this edit I have taken inspiration from my previous edit and this has caused me to create a coloured version of the chandelier. For this I have enhanced the saturation of the golden feature to give the once again warming and inviting impression. This colour scheme has given a more lively feel to the image as with the increased gamma the unnecessary background light has been removed and we have been left with just simply the glow from the reflection of the light upon both the glass and metal work that surround it. This black background also shows off its enormity and glamourous features of its time. I have also added in a small amount of offset to give the aging atmosphere that is produced when seen in real life. Edit Two Edit Three Edit Four

In this edit I have created a very offset piece with extreme contrast and a high saturation. Within my original photo the colours have a low vibrancy and after being taken in such low lighting it is not as interesting. This gives the look of fours suns due to it warming colour scheme that shine and stand out against the deep black backdrop then aimed to flip this area around and that is what inspired my next edit. Edit Five - The light of the moon …

For this image I used photo-shop to add a photograph of the moon to replace one of the street light bowls. Both the image of the moon and the image of the street light were taken in Florence. The moon gives this image a magical, almost surreal atmosphere. This also gives off a surreal type of style due to the simplicity yet quirkiness of the image. Edit Six Light and Subject Photoshoot

After looking into the different types of bulb and shade affect like I went on to look into the way artificial light can create shadows as well as remove areas of an image. I first went on to photograph another bulb and soon involved a subject and directing the light onto her from one angle and how changing the position of the camera removed and gained more light and visual on her face. To further develop this idea I may do front facing or side profiles of a model and see how natural light as well as artificial light hits their skin .

Edit One and Two

To start my editing of this photoshoot I have used very unpretentious images and simply increased the saturation and added in more red and yellow tones with the colour balance tool. This is an extreme change from the original set which lack vibrancy. The ring of dust that sits inside the shade sends off the message that no matter how old something is, it still has the potential to give off a bright atmosphere. The angle of edit two is interesting as it gives a close up to the bulb information, which I have left it due to its candid type of nature, and gives a surrealist type of view as both the background and light centre descend into a black hole. Edit Three

To continue my edits of the circular lamp I have experimented with offset to see what effect and impression it gives to the photo. I have found that in this particular edit its gives a aging and olden look to the piece and everything has a white wash look. The offset was used in order to mimic the dust that sits within the light, as it suggests how little it is used. This gives off the feeling of lack of care, and is an odd notion to be connoting to an inanimate object. This idea is further emphasised with the writing that is fading yet sit almost central to the photo. I have continued to use the colour tone tool in PowerPoint to give the glowing look to the image. The burn tool has also helped to improve the darkness of the writing. This dark backdrop adds to the notion of loneliness due to its lack of solidarity . This impression is further pursued with the next edit as the lamp gives a falling or looking down impression it gives off human characteristics. Edit Four Yousuf Karsh

Yousuf Karsh (1908-2002) is one of the masters of 20th century photography. His body of work includes portraits of statesmen, artists, musicians, authors, scientists, and men and women of accomplishment. His extraordinary and unique portfolio presents the viewer with an intimate and compassionate view of humanity. This first group of photographs covers the years from 1929 to 1941 and shows a great deal of experimentation and improvisation. Karsh was working with artificial light for the first time, and it greatly expanded not only his technical capabilities but also his creative vision. This was a time when he was searching for his own form of expression. Karsh spent much of the 1940s building on the success of his Winston Churchill portrait. 1952, he accepted a lengthy assignment for Maclean’s magazine to document Canada’s post-war economic development. In the seventeen months it took to complete the undertaking, he made a total of 8,334 negatives. During his career he held 15,312 sittings, produced over 150,000 negatives, and left an indelible artistic and historic record of the men and women who shaped the twentieth century. ‘It was in London that I started the practice which I continue to this day of “doing my homework,” of finding out as much as I can about each person I am to photograph.’ ‘Through my photography I have not only become acquainted with some of the most celebrated personalities of our era but have had the opportunity to visit fascinating parts of the world I might not otherwise have known.’ Photograph Analysis This image is of a famous photographer Jacques Henri Lartigue, taken by Yousuf Karsh. The photograph is simple to understand as it only contains a full portrait of a older man and it highlights each of his features with great detail, this is also defined due to the monochrome colour scheme, as the lack of colour does not distract the viewer from his age or facial expression. Lartigue has his hands cupping his face and with a slight pull of his face he creates the idea that he wants to look more youthful , by removing his wrinkled face. This work represents the idea of preventing aging and that everyone wants to stay young; however the smile that he also possesses suggests that he doesn't or we shouldn't care about our age. The title of this piece is Jacques Lartigue, this connotes that the photographer is looking at the model as more then just his face but looking at his as a person and all the decades he has experienced. I believe that the features of his face have been exaggerated due to the black and white. A form of edit may have been used and the sharpness of the photograph has a high intensity, this maybe to highlight his age yet make the viewer aware of his positive emotion. The theme of the work is mainly close up portraiture of historically changing people, which are mostly over the age of 60, and that their age has not changed their contribution to todays society. Yousuf Karsh has used a black and white scale to create this image and this is because it could emphasis the end for the older generation and eventually their time will come. The colour has been arranged so that the darkest areas are around the main focus point, and the shades or black and white become lighter in the centre and the main area of Lartigue’s face. The key shapes that appear in the image is ovals or circles. This is down to the shape of his head and this is also accentuated by his hands cupping around his small face. The textures in the photograph look warm and inviting due to the outfit that he is wearing, the use of the knitted jumper seems sweet and endearing which adds to his inviting facial expression. The outfit he is wearing also starts at the bottom of the image and moves up, taking up a quarter to half of the page and the textures add to his age due to the stereotype of knitted clothing. From this image we can assume that Karsh has probably printed using a darkroom and with research this was proven as he did this with his assistants often. I also found that his photographs are signed in black ink on mount au recto (front), usually imprinted with a studio stamp au verso (back), and mounted to 100% rag board. Some earlier prints were signed in white ink on the photo. Karsh used an 8" X 10" large format camera and studio lighting to capture images of his famous subjects, much like Jacques Henri Lartigue.

The overall feeling of the image is a welcoming one. From the subjects total language we gain the idea that he is pensive, causing the viewer to become thoughtful on their own age or older relatives. The colour however does change the mood of the image as, if in colour, it would be too harsh and cause an uncomfortable feeling due to his expression and the After looking into the different types of bulb and shade affect colour not matching one another. The image has perfectly captured Jacques Henri Lartigue at the highest point in his life. There is a black background in the photograph and this like I went on to look into the way artificial light can create creates the illusion of a reflection. shadows as well as remove areas of an image. I first went on to photograph another bulb and soon involved a subject and Techniques used: When Karsh photographs his subjects he was most likely to use a very fast shutter speed to ensure he didn’t have any blur in his shots. Karsh seems to position directing the light onto her from one angle and how changing his subjects so that they cover most of the frame, this ensures they are the pinnacle of the picture. In some of Karsh’s pictures he uses two or more The style of Yousuf Karsh is the position of the camera removed and gained more light and solely subjects to create depth of field portrait photographs and very often blurring the subjects furthest of famous people from his era. This also added attraction Yousef Karsh visual on her face. To further develop this idea I may do front stuck mainly to black and white images although he did to a specific part of the picture. produce the odd coloured photograph. He was very much into using artificial light and in facing or side profiles of a model and see how natural light as fact he was a master of lighting subjects. Strengths & Weaknesses: Yousuf Karsh’s photographs are very one dimensional and he only sticks to portraits. Portraits are not the type well as artificial light hits their skin . Yousuf Karsh does this of photography I favour. However I would use the way Karsh takes so much time and effort to light the shot in interesting ways. I like this because the viewer can tell a lot from a well with his use of directly view of the camera,, something picture just from the lighting. Another aspect of why I like Karsh’s way of lighting is because it enables him to adjust the contrast of his shots without having to edit. These that I may use if I was to develop this photoshoot again. different contrasts tell a lot about a picture and can be manipulated to tell different stories. Edit Five Edit Six

After looking at a simpler blub on its own, I have experimented with the use of a model and the way in which the light hits her face creating casting shadows. For my first edit I have used a monochrome scale and this has created a dismaying impression to the image, this is down to the models closed eyes as well as the half hidden face which adds to the melancholy look. The light source is not fully in focus which highlight the clarity on the model and emphasises her features which hit the light first. I have got the model to face this direction as it creates a contrast between the light and darker areas of her face and shows how the light can only reach one side of her. To create this I have used the burn tool to darken her already shadow areas and by increasing this distinction shows how the light tries to reach every bit of space available. Edit Seven

In contrast to edit three I have made the focus on the light source over the model and this was to show how the light is more important then the figure as without it nothing would be visible. The image has a very minimalistic style to it as not all of the individual can be seen and the position of which the photo was taken has allowed only her highlighted zones to be seen. The darkness of the background has made the lamp to be the only thing noticeable and this showcase its value in where it is positioned. To enhance this I have used the blur tool across the silhouette but left it clear enough to ensure the viewer is aware of what is within the image. I have not include the whole face as I have found that the best area for light to reflect upon of the eyes and this has been shown off successfully in this edit. Although the image is very dark and the model is also mainly visible with the highlighted outline of her face, it gives a humble impression due its lack of over complication. Edit Eight Sunlight - Shadows Amy Friend

Canadian photographer, Amy Friend has created a lyrical series, Dare alla Luca that revisits the past but is made anew by the addition of scattered light. The existing photographs transform into glowing memories or poems of stardust and shimmer that allow our imaginations to wander. Friend grew up on the outskirts of Windsor, Ontario, Canada where the Detroit River meets Lake St. Clair. She studied at the Ontario College of Art and Design in Toronto before embarking on intermittent travels through Europe, Morocco, Cuba and the United States. She received a BFA Honours degree and Bed degree from York University, Toronto as well as an MFA from the University of Windsor, where she received a Social Sciences and Humanities Grant as well as an Ontario Graduate Scholarship. Amy’s work has been featured in select publications such as the Walrus, Magenta Flash Forward Emerging Photography Competition, EnRoute Magazine, LENS magazine (China), and Rooms Magazine. She has exhibited nationally and internationally and have received grants from the Canada Council for the Arts and the Ontario Arts Council. Recently Amy has received a residency at the Banff Centre for the Arts, an exhibition at the Detroit Centre for Contemporary Photography and at the Mois De La Photo-OFF in Paris, France. She was also a Critical Mass Finalist in 2012. Friend has exhibited nationally and internationally, including exhibitions at the Galerie Riviere/Faiveley (Paris, France), Houston Centre for Photography, Photo Ville (Brooklyn, New York), 555 Gallery (Boston), Onassis Cultural Centre (Greece), Pictura Gallery , (USA) GuatePhoto, Guatamela (2015), Rodman Hall, St. Catharine's, ON with upcoming exhibitions at the Donggang Museum of Photography, South Korea, Getxo Photo festival, Spain and at the Mosteiro de Tibães for the Encontros Da Imagem in Braga, Portugal. In 2013, 2014 and 2015 Friend was selected as one of the top 50 photographs in the juried Critical Mass International Photography Competition and published a monograph of the Dare alla Luce series in December of 2015. ‘In my work I gravitate towards ideas relating to time, memory, impermanence, and the fluctuations of life. I employ materials and surroundings that are familiar to me using them as starting points for my investigations. These materials become the substance I use to inform the work I create. In my practice I tend to work within the medium of photography, however, I am not concerned with capturing a “concrete” reality. Instead, I aim to use photography as a medium that offers the possibility of exploring the relationship between what is visible and non-visible.’ Juan Martin Uranga

Juan martin Uranga is a self taught photographer and focuses on digital photography, due to his unexperienced nature, Uranga showcases his work on social media sites such as Tumblr, Instagram, and Pinterest. All of his collections have the female model in common, the shots may be landscapes shots or naked shoots but each one has a form of the female figure being explored. He ranges using both close of shot of the female face as well as landscapes that incorporate a women. Much of his work is in a monochrome colour scheme, however those that do not follow this trend tend to have dark colours, or with one colour that ranges in tone throughout the piece. His work also constantly uses high key lighting in order to capture his shots and this gives a innocence yet powerful look to the subject. Juan Martin Uranga Photo Shoot

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2 Edit One

To create this image I have used natural light, within a wooded area and the over head lighting then caused different shadows to be shown, as well as the wind causing thin strands of hair to also be in the composition, therefore adding to the element of how light effects an image. I used a close up setting on the camera and this has caused extreme detail to be captured in the photo. I believe the image is successful before the use of editing due to its high quality of clarity as well as various colours that attract the viewer

For this image I have used Photoshop to change the colour scheme to black and white, this has worked particularly well on this photo as it highlights the different tones of light and how the shadows are projected on the subject. The monochrome colour scheme also gives off the impression of the image being a frozen moment in history, and this is emphasised with the wind sending strands of hair across the image. When editing this image I used the burn tool in order to darken some of the already shadowy areas of the photo, to add emphasis to those that are lighter. To get the overall look of this image I have lowed the contrast in order to showcase to range of light tones. Edit One - Developed

I have once again used this image however have done this in order to explore the different looks that light can give off when one is black and white and another in colour. Here I have the original image and the edit in colour and when comparing the two it is clear that the original image lacked colour or vibrancy, and so I was forced to increase the saturation, in order to show off the model as well as her surroundings. This edit emphasises the light that hits the model and how it affects both her skin as well as hair, which Juan Uranga , focuses less on. Although the increase in vibrancy is slight it has still made a big impact on the mood of the image and given it an uplifting impression. The position of the model also gives mystery to the piece as she has little facial contact with the camera and When comparing this colour edit to the black and white I think that both are successful in capturing light and emphasising the looks it has on a subject although they both give off different impression, this development being more positive due to the brightness and contrast between the tones, whereas the grey scale edit, has a dramatic element due to the harsh black and bright white which clash against one another giving a powerful look. Edit Two After exploring the use of colour within an image I went back to look at black and white and it was a successful areas with my cutlery series and this has followed through within my portraiture photoshoot. There was limited editing involved in this outcome as once the tone was changed to grey scale the tones of light were produced on their own and this meant little exposure was increased. However I did go one to use the burn told to make the image darker, and by lowering the light in the already shadowed sections gave a dramatic and powerful look. Although the image is taken from a slight high angle shot, it still gives a intense impression. On the following slide I have also produced a colour version of this image as the skin tones from the model as vibrant and contract the dark green background. The colour edit has also been given a offset as it softens the image similarly to the delicate impression that the model gives with an innocent nature. The colours seem to contrast one another and I have enhanced with the sponge tool, to saturate certain areas of her face. Edit Two – Colour Version Edit Three Juan Martin Uranga Style For this edit I have used a photo filter in order to give the image a similar look to Juan Martin Uranga, as shown in his own photography below. The reason for this was to enhance one of the main colours in the image and link this with the subject, as the shadows are the her wildlife surrounding, by using a green tint upon her, acts as though she belong in where she is situated as well as having a connection with the location, rather then the shadows being cast over her with not effect. To produce this outcome I used a larger exposure in order to emphasise the light on the subject as well as increase the contrast to showcase the different shapes of light and shadows. To add extra detail to the photo I went on to use both the blur and sharpen tool in select areas to give detail on reflective features such as the hair and skin. think that this outcome if successful due to capturing the angle of light and how it varies in shadows. I believe that my own edit may be better in terms of shadows and light rather the Juan Uranga because the light travels amongst the models face and highlights different areas whereas the artist’s sits on one section of her face. Edit Three – Black and White Version

This edit has been given the same techniques as used in edit four, therefore the bold and striking nature appears once again. This has a complete contrast to the original edit which hold a light and positive atmosphere, whereas it not has a high powered look, due to the darkening around the eyes creating a tense and potentially sinister look. I have created this as it gives the notion that also the light has denotations of positivity and heavenly ways, it is possible to turn this on its heads to generate a deadly and sinful atmosphere. Edit Four

After completing successful edits from part one of the photoshoot I then went on to look at my part two images and see whether the distance would have any further impact on the feeling given from the snapshot. Previously I use close up images of the models facial features; however, I hoped to see how a full head could change the lights reflections or notions towards the viewer. The original image for this as shown below, was longer in length, however I felt as though must of the focus was on the background rather than the model, so to begin my edit I cropped the image to produce a head shot of the subject. This meant that the central area was of the model as well as the backdrop being minimalized. This lack of extra content allowed me to focus primarily on the models hair which held the most light. Similar to previous edits in this series the wind had caused her hair to be free and links back to the idea of a frozen in time snapshot. To fully extenuated this I increased the exposure in order to show how bright the light is when against her blonde strands and this is further done at the top of her head in which it is almost white in colour. To give another colour to the piece I altered the colour balance to include more red tones as it showed off the light and uplifting feeling. Vermeer

Johannes Vermeer October 1632 – December 1675) was a Dutch painter who specialized in domestic interior scenes of middle-class life. He was a moderately successful provincial genre painter in his lifetime but evidently was not wealthy, leaving his wife and children in debt at his death, perhaps because he produced relatively few paintings. Vermeer painted mostly domestic interior scenes. "Almost all his paintings are apparently set in two smallish rooms in his house in Delft; they show the same furniture and decorations in various arrangements and they often portray the same people, mostly women. Vermeer worked slowly and with great care, and frequently used very expensive pigments. He is particularly renowned for his masterly treatment and use of light in his work. On 29 December 1653, Vermeer became a member of the Guild of Saint Luke, a trade association for painters. The guild's records make clear that Vermeer did not pay the usual admission fee. It was a year of plague, war, and economic crisis; Vermeer was not alone in experiencing difficult financial circumstances. In 1654, the city suffered the terrible explosion known as the Delft Thunderclap, which destroyed a large section of the city. In 1657, he might have found a patron in local art collector Pieter van Ruijven, who lent him some money. It seems that Vermeer turned for inspiration to the art of the fijnschilders from Leiden. Vermeer was responding to the market of Gerard Dou's paintings, who sold his paintings for exorbitant prices. Dou may have influenced Pieter de Hooch and Gabriel Metsu, too. Portraiture and Light Mid Shoot Vermeer Style – ‘Girl reading a letter’ Painting Paul Strand

Paul Strand (October 16, 1890 – March 31, 1976) was an American photographer and filmmaker who, along with fellow modernist photographers like Alfred Stieglitz and Edward Weston, helped establish photography as an art form in the 20th century. His diverse body of work, spanning six decades, covers numerous genres and subjects throughout the Americas, Europe, and Africa. Strand was born in New York City to Bohemian parents. In his late teens, he was a student of renowned documentary photographer Lewis Hine at the Ethical Culture Fieldstone School. It was while on a fieldtrip in this class that Strand first visited the 291 art gallery – operated by Stieglitz and Edward Steichen – where exhibitions of work by forward- thinking modernist photographers and painters would move Strand to take his photographic hobby more seriously. Stieglitz would later promote Strand's work in the 291 gallery itself, in his photography publication Camera Work, and in his artwork in the Hieninglatzing studio. Some of this early work, like the well-known "Wall Street," experimented with formal abstractions (influencing, among others, Edward Hopper and his idiosyncratic urban vision).Other of Strand's works reflect his interest in using the camera as a tool for social reform. He was one of the founders of the Photo League, an association of photographers who advocated using their art to promote social and political causes. Style of Paul Strand Edit One - Paul Strand Style Street Light Daniel Flavin

Dan Flavin (April 1, 1933 – November 29, 1996) was an American minimalist artist famous for creating sculptural objects and installations from commercially available fluorescent light fixtures. Flavin’s first works were drawings and paintings that reflected the influence of Abstract Expressionism. In 1959, he began to make assemblages and mixed media collages that included found objects from the streets, especially crushed cans. In the summer of 1961, while working as a guard at the American Museum of Natural History in New York, Flavin started to make sketches for sculptures that incorporated electric lights. The first works to incorporate electric light were his "Icons" series: eight coloured shallow, boxlike square constructions made from various materials such as wood, Formica, or Masonite. Constructed by the artist and his then-wife Sonja,the Icons had fluorescent tubes with incandescent and fluorescent bulbs attached to their sides, and sometimes bevelled edges. The "Diagonal of Personal Ecstasy (the Diagonal of May 25, 1963)," a yellow fluorescent placed on a wall at a 45- degree angle from the floor and completed in 1963, was Flavin's first mature work; it is dedicated to Constantin Brâncuși and marks the beginning of Flavin's exclusive use of commercially available fluorescent light as a medium. A little later, The Nominal Three (to William of Ockham) (1963) consists of six vertical fluorescent tubes on a wall, one to the left, two in the centre, three on the right, all emitting white light. He confined himself to a limited palette (red, blue, green, pink, yellow, ultraviolet, and four different whites) and form (straight two-, four-, six-, and eight-foot tubes, and, beginning in 1972, circles). In the decades that followed, he continued to use fluorescent structures to explore colour, light and sculptural space, in works that filled gallery interiors. Flavin's first one-person exhibition using only fluorescent light opened at the Green Gallery in 1964. Two years later, his first European show opened at Rudolf Zwirner's gallery in Cologne, Germany. The first major retrospective of Flavin’s work was organized by the National Gallery of Canada, Ottawa in 1969. Robert Cottingham

Robert Cottingham (born 1935 in Brooklyn, New York) is an American artist known for his paintings and prints of urban American landscapes depicting building facades, neon signs, movie marquees and shop fronts. Although often considered one of the most important photorealist painters, Cottingham rejects the label of being a photorealist. He rather sees himself as a realist painter working in a long tradition of American vernacular scenes in the line of the likes of Stuart Davis, Charles Demuth, Edward Hopper and Charles Sheeler.Cottingham regards his works as no mere painterly translations of photographs or reproductions of reality since he often changes the words in his facades to alter the meaning of the subject. His primary interest lies in the subject matter — the so-called Americana. Cottingham’s interest in the intersections of art and commerce derive from his career as an adman and the influence of Pop art. Many of his paintings convey an interest in typography and lettering, as well as an awareness of the psychological impact of certain isolated words and letters. In his facades, techniques from advertising, namely cropping and enlarging, often produce words of enigmatic or comical resonance such as “Art,” “Ha,” or “Oh.” Cottingham’s enlarged sense of scale is reminiscent of James Rosenquist’s work, while his interest in text suggests the influence of Robert Indiana and Jasper Johns. In general, Cottingham viewed his work as continuing the legacy of Pop artists such as Andy Warhol, who also had a background in advertising. Cottingham studied art at Brooklyn's Pratt Institute and started his career in advertising. After relocating to Los Angeles for work, he began to commit seriously to painting. In 1968, he ended his advertising career and devoted himself full-time to painting. In the late 1960s, he started using photography in his painting practice. His first solo show was in 1971 at the O.K. Harris Gallery in New York. In 1990, he was elected into the National Academy of Design as an Associate Academician, and became a full Academician in 1994. A retrospective of Cottingham's work took place at the Smithsonian American Art Museum in 1998. In 1968, Cottingham ended his advertising career in order to devote all his time to painting. In the late 1960s, he started using photography in his practice, first as an initial reference point for his process. After selecting a photograph, he translates it into black-and-white drawings by projecting the image onto gridded paper, as a means of perfecting the tonal range between light and shadow. He often creates subsequent studies on paper using colour. He finalizes the process by projecting either the original slide or any of the drawings onto a canvas and organizing the composition according to a grid. Another reason for Cottingham’s rejection of the Photorealist label is that he does not view his works as mere painterly translations of photographs or reproductions of reality. He has been known to change the words in his facades to alter the meaning of the subject. His primary interest lies in the subject matter—the urban American vernacular—rather than the deployment of a photo-based technique. Street Signs Photoshoot Edit One – Robert Cottingham Style

For my first edit with this photoshoot I have taken inspiration from painter Robert Cottingham, as he produces bold and eye catching looks within his work. The image that I have selected for this has been taken at an angle which is not straight on, but I feel as thought it adds a new dimension and element to the piece, and this links to some of the works that the artist creates. In one particular pieces of his work ‘ROXY’ it features a glass window which shows little of the inside as well as reflecting the outside scene, this is something that I feel I have done successfully, as shown in the continuing slides. Cottingham is known for his use of bright colours and this is something I have mimicked with the colour balance tool, to increase the pink colour scheme through out the image. As well as this I have used the exposure tool to enhance the brighten up the lights. Although the artists work do not have signs that are not all lit, I have taken the best parts of his work and placed them in my own to create successful outcome. Edit One – Black and White Version Edit Two and Three Edit Four and Five

For my next edit I have once again used the monochrome colour scheme which was created a winning image. The photo is of a restaurant sign in Italy that hangs along the side of a building. I have taken the image from behind which gives it a quirky impression, I chose this angle as it meant that the mechanisms could be seen rather then just the perfect front, giving the image more content. I believe that the black and white colour scheme shows of the effect the light has upon its surrounding surfaces well. After increasing the contrast of the image I became clear which areas were effected from natural light and electric light. Although the image was taken during the day the colour scale has turned this to give a night time look. I used the burn to enhance the dark tones that are casted by the shadows from the sign and this has allowed other areas to become more highlighted and focused on. I believe that this building gives off a sense of character due to its exposure of wires and open windows running along the side. The exposure was increased and this resulted in the lighter areas to be more contrasting with the darker metal. I believe that the combination of colour and older type of windows gives the image an aged look and gives a reminiscent feel for the viewer. It was also Brassai that heavily influenced these images and shooting style. Edit Six Edit Six

This odd style look continues throughout my black and white filtered images and this is further reinforced with the grainy look that the image has. Due to the light being so bright the camera has found it hard to focus on the specific sections of the image, this has meant that a slight unfocused glace is put across the image, which I believe works well to give an aged impression. I have taken this particular image t this angle as it showcases all the areas of the sign that do and do not get light, as well as showing that the sign is well worn. The door has been pushed to be slightly open and this adds to the character of the image to give an inviting impression. To further develop these images and give an even more old feel I will explore techniques on Photoshop as well as physically. Edit Six - Ageing Edit Seven Edit Eight For edit eight I have continued with the scheme and this particular image has given off an even older impression due to the lamp that has been included in the outside of this shops sign. That light has been made in a way that mimics olds candle street lamps, with its shape and colour of black metal. The image is a mix of new time electricity with historic style and the black and white colour scheme helps to bind the two together. Brassai

Brassai was a Hungarian–French photographer, sculptor, writer, and filmmaker who rose to international fame in France in the 20th century. He was one of the numerous Hungarian artists who flourished in Paris beginning between the World Wars. In the early 21st century, the discovery of more than 200 letters and hundreds of drawings and other items from the period 1940–1984 has provided scholars with material for understanding his later life and career. Brassai captured the essence of the city in his photographs, published as his first collection in the 1933 book entitled Paris de nuit (Paris by Night). In addition to photos of the seedier side of Paris, Brassai portrayed scenes from the life of the city's high society, its intellectuals, its ballet, and the grand operas. Brassai photographed many of his artist friends, including Salvador Dalí, Pablo Picasso, Henri Matisse, Alberto Giacometti, and several of the prominent writers of his time, such as Jean Genet and Henri Michaux. Young Hungarian artists continued to arrive in Paris through the 1930s and the Hungarian circle absorbed most of them. Kertèsz immigrated to New York in 1936. Brassai befriended many of the new arrivals, including Ervin Marton, a nephew of Tihanyi, whom he had been friends with since 1920. Marton developed his own reputation in street photography in the 1940s and 1950s. Brassai continued to earn a living with commercial work, also taking photographs for the United States magazine Harper's Bazaar. He was a founding member of the Rapho agency, created in Paris by Charles Rado in 1933. Light in Urban Spaces Landscapes and Light

Matthew Hart

Matthew Hart is a street and event photographer that is based in Liverpool, after being diagnosed as dyslexic at the age of 11 and being teased for this, his parents felt it best to give him a camera in order to express his emotions and views on the world around him. It was this curiosity of his neighbourhood that lead him to focus on the lives of others and the streets he grew up in. ‘My photography has helped me all my life to focus my creativity, I don't take millions of Photos and I like to keep it real with minimum editing. I am not keen on Photoshop but that’s because I can always see the fastest route to the end goal, so I don't want to spend 15 hours in PS when I can spend 3 min in Light room, seems like a waste of 15 hours to me.’ Hart soon became an official Fujifilm X Photographer; a Format Hitch featured Artist and the founder of The Fujiholics Social Media Group., creating Annual projects helped him to focus on his personal development within the industry constantly challenging his own ideas and concepts and motivating him me to learn new skills. Matthew Hart Analysis

This image was taken at the Africa Oye Music Festival, the biggest and best celebration of African Culture and music in Europe and Matthew Hart’s favourite event of any year in the UK. The photos has a large amount of content and this is done with the use of a mid shot that focuses on a particular individual al yet still incorporates the crowds that surrounds her. This image follows the pattern of many of Hart’s work, in which the colour scheme has been set to black and white. The image has a young girl front row at the festival and this is done with a mid shot, capturing her whole face as well as including her outfit and setting. The lighting in this image is high on particular areas and this is over the innocence of the subject so therefore adds to her youth and vulnerability that is portrayed. The lighting has been enhanced with the use of the weather contrasting the tones and ideas that are often made, with the use of the rain drops that cover the image it gives the idea that the image should be dark; however, with the use of the sun highlighting the event it gives an impression as though the setting is positive and uplifting no matter the weather. Light in Narrow Spaces Photoshoot Edit One and Sepia Experiment

Florence continued to be a large part of my urban spaces combined with light route and the architecture is something that I wanted to capture, in order to show its beauty, as well as age. From this I began to experiment more with my editing on Photoshop to create sepia style images. This gave my outcomes the historic look I was aiming for, as well as showcasing the light, similarly to my monochrome edits previously. Edit Two and Three Edit Four Edit Five Edit Six Idris Khan inspired Edit One and Two - Idris Khan Style Movement of Light Motorway Photoshoot Edit One

For the first edit in the series I have lowered the brightness and increased the exposure so that the only element that is truly visible is the car lights as it gives a dramatic and face pace impression to the picture. The area in which I took the shoot has been successful due to the double direction that the cars were heading giving a busy look as the cross over takes place almost centre of the image. This angle is also successful as the street lights create a simple curve as they become more and more distanced. I have found that the contrast in the colour of lights has also worked well as it gives off a dangerous impression with the harsh red lines that are more frequent while the thicker white lines have a heavenly feel, acting against one another. The use of a higher contrast has also meant that it is clear how the light that is projected hits certain surfaces more or less. Edit Two Edit Three + Invert

For these two edits I have found that singularly they lack the ability to grab the viewers attention; however, together they both clash and contrast in their colour scheme that give off a battle style, as well as futuristic with its surrealistic style. Michael Ross

Michael Ross is well known in the Light Art Photography Artist community and is known all over the world for his work and inventive tools for use in Light Painting Photography. Michael Ross Photography is located in Plano, Texas with coverage of the North Texas, Dallas / Fort Worth, Plano / Allen / McKinney / Frisco / Parker / Richardson areas. All of Ross’ photography is performed on location in an outdoor or indoor setting. Michael Ross is more about capturing the feeling, emotion, and story that goes along with the image. ‘When I look through the viewfinder of my camera I see much more than just an image. I see a window of visions into the wonderful emotions, angles, light, shadows, colours, curves and lines that converge in a moment in time. An extraordinary moment. An ever changing canvas and the opportunity to capture those extraordinary moments that are only there for a split second and then would otherwise be forever lost. My camera is my tool that helps me to see things that others may not see. If you blink, you will miss it. Knowing what to look for and being ready to for the scene to unfold is what many years of photography experience has taught me and is simply what I love to do.’ Photoshoot Seven Photoshoot – Style of Michael Ross I experimented with light painting as it gave off multiple reflections on different surfaces within the pitch black room. Edit One Edit Two Edit Three Edit Four