These should differ in type and style, and each be from a separate photographic session.
In my learning log I have to:
1. Critically assess my finished work considering each portrait individually.
2. Identify what has worked well and what has been less successful and analyse the reasons for this.
3. Consider where I need to strengthen my skills and understanding and explain how I hope to achieve this.
Aline is passion. Aline is feelings, strong feelings.
Northern European rigour and latin feelings: the best sides of the French world.
Aline is energy; positive, enthralling, engaging, gripping energy.
Aline is pure life, flowing freely and uncontrollable.
No compromises on her values: generosity and honesty.
And that is the way she offered herself to my camera: a true storm of emotions.
I got her clear, profound and transparent look in close-up portraits.
I photographed her style and her dreams in head and shoulders shots.
I could explore few less classical ways of taking a portrait thanks to her great deal of humanity.
And I understood.
I understood that the moment between the beauty spot on her right cheek and the scar on her forehead is endless because it passes by the deep immensity of her look.
During the different shooting sessions (about 10) I had great fun and I was able to go beyond my limits of student photographer.
I am surprised at how long it has taken me to set up and take each portrait for the assignment; three weeks, taking each portrait at a different session.
For each portrait I took a sequence of images until I felt I had the correct expression, or pose that conveys the message I am aiming to get across.
The photos I have chosen can be split into two groups: traditional portraits (close-ups and head and shoulders), which are the seven photos required by the assignments, and some more "experimental" shots.
Close-ups
The first three images are close-ups aiming to convey three different expressions, all typical Aline's way of being.
Image 1.
f 2.8, 1/60 sec, ISO 320, 70 mm
Taken in a wood close to my house on a bright but sometimes cloudy late afternoon using available light.
My subject stood sideways in a small path in the nature, I stood at an angle looking towards her.
I wanted to take advantage of the rather soft diffused light coming through the trees.
I am especially pleased with the lighting and the crop in this portrait.
I wanted to capture her facial expression closely with no other background distraction and shoot her head framed tightly.
This image is a celebration of Aline’s determination.
Image 2.
f 2.8, 1/50 sec, ISO 800, 70 mm
Taken indoors in a early afternoon on a couch using the available light coming from a large window.
I took a series of photographs moving back and forwards, watching her facial expression carefully.
I wanted an aura of tranquillity and contentment to be present, not a cheesy grin.
In post production, besides few standard adjustments, I reduced the "clarity" in order to have a softer image and increase the dreamlike atmosphere of the image.
I like the final result because it well depicts Aline's delicacy, but I am not sure if technically the shot is too soft.
Image 3.
f 2.8, 1/60 sec, ISO 800, 70 mm
Taken indoors in evening with tungsten light from the ceiling.
In this shot Aline was tired. Likely because the "ball-buster"(as she defines me) photographer did not stop shooting at her.
I like this image because it reminds me of a "Pietà", not really in a Michelangelo's style, but still conveying a sort of sensual suffering.
I believe that also the strong colour of the background helps to highlight the decisive moment of the shot and amplifies the effect of the photo.
Head and shoulders
The next four images are head and shoulders shots taken during four different sessions.
Image 4.
f 3.5, 1/80 sec, ISO 100, 45 mm
Taken outside in late afternoon with diffuse daylight and clouded sky.
I have to say that, when I saw this potential location, it was the contrast between the textures of the site and the texture of the human face that stroke me.
I believe that this head and shoulders portrait highlights that contrast successfully.
The softness of skin texture, the light smooth shine on the lips, the gentle look, the slight highlight in the eyes, and the tones of skin and hair, all contrast markedly with the rough, hard, decaying textures and atmosphere in the background.
I also like the grey colour of the background embracing and almost melting with the colour of the sweater.
Image 5.
f 2.8, 1/40 sec, ISO 250, 45 mm
Taken indoor with tungsten light from the ceiling.
I love this image because it is a combination of planning and collaboration.
Aline and I discussed a lot regarding poses that she might suit taking her height and frame into consideration.
Aline looks very intense in this image.
She has a sort of top-model attitude that I really like.
The pose could be called a little bit glamour-esque but I think the combination of a genuine expression and innocent outfit move away from this completely.
Image 6.
f 2.8, 1/30 sec, ISO 250, 24 mm
Taken indoor with natural light coming from a large window.
The focal length is shorter than I usually use and this meant to get physically closer to my subject with the attempt to create an intimate image that reflects our close relationship.
I think that the dreaming look is very well supported by the light of the shot.
I like a lot the naked skin that highlights the intimate moment of reflection and the posture of the head turned towards an almost visionary look into the future.
This is one of my favourite shots of the assignment.
Image 7.
f 2.8, 1/160 sec, ISO 100, 42 mm
Taken outside in the afternoon with natural diffused light and clouded sky.
The light has created catch lights in her eyes, the most important feature in such a composition, and I feel the direct eye contact draws the observer towards them.
I like very much the intense look and the position of the hands playing delicately with the flowers over the head.
I appreciate the original crop (no post production involved) that provides a good, balanced framing of the subject and I like the contrast between the main colours of the shot: pink, green, white and yellow.
This is definitely my favourite shot of the assignment.
"Experimental"
Image 8. Action
f 8, 1/250 sec, ISO 100, 24 mm
"Starting in the early 1950s I asked every famous or important person I photographed to jump for me. I was motivated by a genuine curiosity. After all, life has taught us to control and disguise our facial expressions, but it has not taught us to control our jumps. I wanted to see famous people reveal in a jump their ambition or their lack of it, their self-importance or their insecurity, and many other traits."
This statement of Philippe Halsman and his very famous photographic project "Jumps" inspired this shot.
I like a lot the idea, I appreciate the crop (Aline is almost jumping out of the frame), but I really do not like the background (the trampoline in my backyard).
Image 9. Street photography
f 5.0, 1/160 sec, ISO 100, 51 mm
The crop and the contrast between Aline and the little girl walking away are the two elements that I like in this shot taken while she had a business call.
Everything looks delicate. The soft scarf around her neck, the way she holds her mobile, the little girl gently walking away.
Also the narrative can be rather interesting. Who is she calling and why? What is the relation between her and the little one? Is the child running into a danger?
Image 10. The "Wearing" project
f 4.5, 1/20 sec, ISO 100, 70 mm
"The capacity of photo-conceptualism to dislodge the surface of everyday life through simple acts occurs in British artist Gillian Wearing's - Signs that say what you want them to say and not signs that say what someone else wants you to say - . For this work, Wearing approached strangers and the streets of London and asked them to write something about themselves on a piece of white card; she then photographed them holding their texts. By making the thoughts of her subjects the focus of the portraits, Wearing proposes that the capturing of the profundity and experience of everyday life is not intrinsic to the traditional styles or compositions of the documentary photograph, but is more effectively reached through artistic intervention and strategy."
I learned about Wearing's project thanks to the book "The Photograph as Contemporary Art" that I am reading in the framework of this course.
I like a lot Wearing's idea and I decided to try to replicate it with Aline.
She wrote in French "Finally free" and I personally adore the way she showed her statement.
The look, the hand on her chin, the posture of the head, show a sort of challenge to the viewer.
A sort of "I am gonna be free if you like it or not!"
I like the contrast between this sort of provocation and the gentle way she holds the paper.
Knowing Aline, this paradox, the contraposition between the "tough" and the "delicate", is very much the quintessence of her way of being and I think this photo well depict it.
Image 11. Juxtaposition
f 4.0, 1/40 sec, ISO 100, 29 mm
It was Aline's idea and I bought it.
I do not think the photo is particularly original, but in my view it is well executed, reframed and corrected in post production.
I think that the shot is relevant not for the technique nor for the pure aesthetic, but more for the person that Aline chose to juxtapose to her face.
I believe that Marilyn Monroe's destiny, her willingness to be loved, her determination in life, are very close to Aline's heart.
Aline is a riddle wrapped in a mystery inside an enigma.
The message is strong and very personal and my photo is only the media transmitting it.
I really enjoyed doing these shots with Aline and I am rather happy with my results.
I am also happy because my model was pleased with the shots and actively (and patiently!) participated in this highly demanding exercise.
I have also let my recent reading affect my work.
I have also really enjoyed reading the first chapters of the book "The Photograph as Contemporary Art" and it gave me ideas and the confidence that I can create some photographic contemporary art.
However, in my opinion there is still a lot to do.
I am good at seeing situations and using ambient light and with help of editing get good results in my pictures.
On the other hand, I have to work on a “check list” in my head that I get less depended on what I find but that I can give better structure to my photo sessions.
I think I have a good feeling for locations but need to strengthen my directing-skills giving the model better orders what to do and finally to be able to imagine the picture in my head before the shoot and work towards it with model, light and so on instead of "doing the best of the situation".
I believe that the possible best way of doing that is practice, practice and practice till I am getting used to that and I improve myself.
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