Photography: Portraits and Street Fashion

Two of my favourite projects in Photographic Art Direction were Portraiture and Street Fashion. For portraiture we worked in pairs, taking photos of each other both indoors and out. Indoors we used our knowledge of how to best use lighting, and outdoors we used various focal lengths to achieve a blurrier background than foreground. Composition was also very important in all shots. I had a lot of fun with this project, even when we were approaching fashionable strangers to ask if we could take their photos.

The only downside of this project was that two of my classmates took photographs of me, and will be printing my portrait at 20×30″ for an exhibition. The photo I have chosen to print this size for the exhibition is the profile shot with dramatic studio lighting.

Please note that the photos have been scaled down to be added to this website.



Photography 1: Lighting

Our first lesson in Photographic Art Direction class was about making use of flashes, and different lighting situations in the studio. We also learned about aperture, and using light monitors to determine which F-stop to use.

  • Snoot
  • Wide angle reflector
  • Soft box
  • Honeycombs

The task was to photograph an object of our choice in 6 different lighting situations. We then edited them. These are the photos I ended up with.

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Assessment Piece: Filming and Editing

After finding a couple of willing actresses, we took a day trip to London, a setting I thought was appropriate in discussing a political issue, and for representing a idealistic, futuristic city, due to its recognisable skyline.


The star of the film is Gianna Gréaume, and Fiona Jones was able to come and assist and play a working woman. I signed out a panasonic hand held camera and a counterweight from the equipment store, to use in the filming. No other equipment was needed, as I have found most of the creative side of shooting the film was in the editing, which is still in progress.

Aside from slight issues in smoothness, I would like to figure out how to make the flashback sections look like more antique films. Perhaps I will try to sit down with Angus when I don’t have so many Psychology deadlines.

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I would also like to take another look at the timing with the soundtrack, and deal with a couple of men who  have made it into the final cut. I may have to remove a shot that I liked in order to remove them. Fiona Jones also suggested that I could censor each man with a banana. However I am not sure that this fits in with the purpose of the film completely. I will consider this.

During our most recent crit, we determined that the ambiguous nature of the film is a quality, and it was suggested that I think about how best to show the film for the exhibition. Perhaps I will make banana or apple chairs, or project the film onto a banana, or multiple screens.

BANANA CHAIR DESIGNS, see notes and redraw.

We recently had an artists talk from Rehana Zeman, a moving images artist who made a lot of work that interested me, cutting together dramatisations, documentaries, and animation. She also showed many examples of how her work is displayed in galleries; more often than not, on multiple screens.

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Pipilotti Rist also presented her film around a corner so two images were seen simultaneously. I am therefore considering making three windows in the film, with the central image playing the proper film, and the other two maybe just Gianna walking away/toward, or doing various everyday activities on a loop.