After shooting my photo story, and reflecting over the images I have been able to develop my skills with a 55mm lens using a large aperture of f1.8/f.14. This has been a tricky to work with such a small aperture as the depth of field is extremely small making the focal point small also. I have also learnt how to work with a Speedlight flash, however even though not using this within the images on my photo story I have been able to use this whilst shooting on live locations.
I will be hoping to develop my skills working with flash and will be continuing to look at portraiture and how to frame the individual within the frame. I will continue to look at different portraiture photographers to gain inspiration and will continue to photograph people in different ways.
Looking back at the images I have taken from the Jet Age Museum if I was to extend my shooting within the Museum I would have further contacted the pilots of the planes and would travel with them to showcases and would photograph the restoration team head on. I would have liked to have created “headshots” of the individuals placing flash into the images also.
Through this project I have used the skilled learnt throughout the different location shoots and though returning to the Museum I have been able to improve some of my images.
From where I have left this photo story I will be looking at how to change the perspective of my images and to make use of flash more often and to use inspiration of different photographers to develop my photographs.
Looking at the portraits that Irving Penn. Irving worked within black and white mainly, and would place his subject into intriguing positions, even making a corner to place his subjects to make them not only look as though they were in an uncomfortable position but they would have actually have been within one.
This portrait takes out the normal perspective of what a portrait is, This image is a studio taken image, and makes use of staging to complete the different perspective of the portrait. The image is black and white, not purposefully but because this was a limitation of the equipment used. The way the Penn has placed the individual at the end of the corner adds distance between the viewer and the individual, however the fact that the individual is placed in dead centre adds to the leading lines of the corner, drawing the viewer in.
I love how Penn changes the way in which is a portrait is taken.
After my last visit to the museum I had realised that I had to put my images into context. Therefore on my last visit I photographed the lack of funding that the Jet Age Museum receives. I therefore photographed the donation boxes and the work stations that the volunteer have to work in….
I have done this as to put the images that I have already taken into context, to show where the museum is and what the facilities are like. To add more of a feel to my photostory.
With these images I was mainly using a wide aperture inside the building due to a lack of light but when photographing outside I was using the smallest aperture that my lens would allow which was f.16. The lighting within the museum has been hard to work with as it has been typical warehouse lighting however I think the way I have worked has meant that the lighting has not prevented me from photographing this photostory.
After my previous shoot at Gloucester Jet Age Museum I have been back and have had the chance to photograph the aircrafts again, as well as the people who work upon the restoration of the aircrafts also. When I was on location I was using a wide angle lens with a very wide aperture.
The people working on the planes were more than willing to have their photographs taken, and as they were working I was able to capture them as they were working.
I have been looking at the work of Simon Norfolk after my trip to the jet age Museum. After seeing the chaotic mess of the wiring and how complex the computer systems were within planes I have looked at photographer Simon Norfolk and how he photographed the chaos of huge supercomputers.
The European Centre for Medium-Range Weather Forecast supercomputer. Reading, England
The supercomputer owned by Liverpool University, UK
Both of these images have long depths of field adding to the chaos of the wires, with everything in focus the wires all interact with one another crossing over and weaving in and out of one another. When I go back to the museum I will take my tripod so that I am able to use a smaller aperture and a slower shutter without having to change my ISO.
If the use of my tripod cannot be done, this would be down to lack of space as it is very cramped under the plane, I will use flash but reflect the flash off from behind me so that the light is not as harsh.
These are my images which I have taken with a small aperture from the range of f. 1.4 – 2.5, when returning to shoot I will refer back to the work of Simon Norfolk to recompose and reshoot these images, so to use them as part of my narrative of my Photostory.
I have been admiring this photographers work for a while. He is a well know war photographer and is most known for the Marlboro Marine image. This image was used a lot during the war within Fallouja, Iraq, 2004.
Luis Sinco whilst in Fallouja made a lasting relationship with what was soon to be branded as the Marlboro Marine, James Blake Miller. He worked to share his story after he was sent back to the US. He worked in close proximity of him, documenting James Miller on his road back into civilisation. I particularly like that way in which Luis Sinco has portrayed him. The use of natural light and the compositions which he has used captures his transition with great success.
This image of Marine Lance Cpl. James Blake Miller beamed around the globe and was printed on the front pages of hundreds of newspapers. Miller — a country boy from Kentucky — became an icon of the war in Iraq. Many saw a heroic figure. In Miller’s eyes I saw a man at the point of breaking. It was how I felt, too. The fight for Fallouja raged all around us. In the aftermath, as the years passed, our lives intertwined as we struggled to find meaning far from the battlefield.
I love the way Luis has made use of the reflections, and has used the minimal light. With this in effect it makes it seem as though the soldier is softer and takes away the harshness which is present when using a flash. I think that I will use some of the techniques used here from Luis Sinco on my own portraits I think that within my stories images I will not use the same technique to such an extent, however within my own work I will transfer Luis Sinco’s style of lighting within my own work.
After coming away from the museum, after my shoot I realised that I had been able to capture the feel for the place, and the jets themselves. However as I was unable to photograph the people who worked on the planes due to the rush they were under to finish a job I will be returning to photograph them. However I have shot the infill photographs I will need to complete my photostory.
I was shooting with a 55mm lens mostly using an f. 1.4 as the lighting within the planes was poor, however through doing this I was able to capture details clearly.
When I go back to the museum I will bring my flash so that I can grab some more detailed shots of the planes, however I know that I must be weary of the fact that the materials I am photographing may flare back into the lens. However the use of flash will be useful for the portraits, to pull out details within their features.