08 April, 2024
Within this shoot, I planned to drew inspiration from high fashion editorials, coercing the use of structured poses with sports photography. Carrying out this shoot in a studio, I planned to experiment with different lighting setups: flagging the lighting to create depth within the frames. However, in carrying out the shoot I did not flag the lighting. I instead focused on high key images, gradually implementing the use of fill lights to create an emphasis on the focal point of the shoes. I also compared the usage of coloured edits vs monochromatic edits.
Towards the end of the shoot, I used a much more low key setup - positioning the key light parallel in height to the shoes - resulting in a far more dramatic emphasis on the shoes. However, to have improved on this lighting setup, I should have included a hair light to the left of the hat; creating a greater sense of depth.
I also experimented with the shoes from a product perspective, exploring the use of colour combinations and styling to create a visually intriguing portrayal of the shoes. However, the weight of the shoes became limiting to the balancing abilities of the shoes, therefore, I experimented with motion blur and the use of filters.
FREE CLIMBING - CAPTURED ON KODAK TRI-X 400 BLACK AND WHITE 35MM.
01 April, 2024
Free climbing is a slowed down sport that requires precision and so I reflected this through the medium of analogue photography - using Kodak’s Tri-X 400 ISO black and white 35mm film. I carried this shoot out using a simple list of kit: Nikon F100 and an 85mm f/1.8 lens. Although carrying only a prime lens with a shallow depth of field limited the build up of a vast composition, I was able to capture intimate portraits of which showcase the lifestyle of the sport.
By revoking the use of colour, a greater emphasis is placed on the subject due to the contrast of the highlights and shadows, accentuated by the dark clothing worn by the subject.
Like all my film work, I did not edit the outcomes. I like to leave the negatives alone, embracing the raw outcomes and putting full trust into my photographic abilities to meter the frame correctly. As a result of this shoot, I produced one of my favourite images to date (top left).
RETURNING BACK TO FILM - KODAK PORTRA 160 120MM SPORTS EDITORIAL PHOTOGRAPHY.
25 March, 2024
Let’s start this blog off strong by reflecting on the ‘failure’ of a shoot carried out in November using film, having not touched the medium in over 5 years. I also decided to throw myself under the bus even more by exploring the use of Kodak’s Portra 160 film in medium format, using the Mamiya 7ii; previously I had only used black and white film using the standard 35mm film. Although the shoot wouldn’t be classified as a total failure due to the film - much to my surprise - developing with images on each frame, my preference to work with ambient lighting resulted in a lack of contrast when the weather decided to do the complete opposite of the forecast. A standard for English weather so I don’t know why I was surprised.
Shooting relying on the use of ambient lighting often requires me being glued to the weather forecast a week prior to my scheduled shoots; this can help me to predict the quality of highlights and shadows that I will potentially be working with. Naturally my preference for ambient lighting spawns delight when the prediction states sunny blue skies as this will allow me to take high contrast imagery - helping to distinguish the foreground, middle ground (containing my focal point) and background.
The Devon countryside is beautiful and so I carried this shoot out at Hound Tor, Dartmoor. Initially the weather played its part in providing sunshine allowing me to capture these images: experimenting with the use of scale and how the perspective of the camera altered this.
Focusing on the sport of free climbing, the intended focal point to each of my frames was the sitter climbing: ensuring to capture the safety of the sport, taking the ethical consideration to not glamorise and promote bad practice. Making the conscious decision to not bring artificial lighting in combination with the natural diffusion - a result of the changing overcast weather - resulted in a lack of contrast and subsequently a lack of depth.
Due to not being able to capitalise on a large contrast between highlights and shadows, my focus shifted back to the the perspective of the camera and how this alters the dominance of the sitter in the frame. Using the mamiya 65mm f/4 prime lens meant this change in perspective was a result of my changing position.
Although I have previously flagged off the use of film due to not liking the experimental nature of the process, contradicting my conceptions, I thoroughly enjoyed returning back to the medium. Perhaps this was due to shooting film for a sport that requires patience and pre-planning, mimicking the subject’s process within my own photographic process. Although in terms of the outcomes using the colour negative film, naturally it provided my images with additional warmth, in particular the frames that were taken before the weather became overcast. Whereas continuing the use of the film within clouded conditions resulted in a green tint and minimal contrast: this is also resemblant within the polaroids that I took whilst on location.