FINAL IMAGES & EVALUATION

These are my final 6 images for the FMP brief, 'Visual Obsession'.

As mentioned previously i thoroughly enjoy photographing children, seeing their personalities emerge before you and capturing this in imagery.

Initially i set out to produce images similar to Vee Spears in composition and editing style, but due to lighting problems on the day of the party this was hard for me recreate when it came to editing. The background wasn't what i wanted and in my eyes was very distracting, so i decided that instead of arranging another party, which would of been quite expensive for me to do i set about finding a new editing style.

I've seen textures on other photographer's work and really like the effect they give, especially the more vintage ones. After some research i downloaded several of these on to my computer and set about overlaying these on to my images.

My plans for final prints where to show both a before and after shot of each child, but once edited i felt that some of them where much stronger alone and also gave the viewer something to consider when viewing my images. Other artist's also do this, including one of my inspirations from the assignment, Irwin Olaf.

Overall I'm really pleased with my work and feel I've learnt a lot from the shoots, my concept worked really well and was particularly evident in the images of Samuel. The idea for a new business venture is definitely there too, as from my research i couldn't find any other face paint and photography company in the UK. Technically i feel i have lots to learn but with practice I'm confident i will get there, ideally i would of been able to do the shoot again, using the lighting method i wanted, having said this I'm more than happy with the final outcome after editing. Collaborating with Stacey and Di was a great experience and both have expressed interest in working with me again over the summer, I've also had positive feed back from the mums who's children attended the party, saying they had a great day and others also want to buy the photographs.

EDITING PROCESS

Below is a discription of how i edited my final images.

Initially i uploaded my images to lightroom, and made some minor adustments to the white balance and curve, the image was then exported to photoshop for final editing,

Image 1, the inital image as it was after slight editing in lightrom.

Image 2, i had a selection of textures which i had downloaded from various sites, i tried different ones to see which suited the image best. I then used 'hard light' on the texture layer and reduced the opacity to approx 60%

Below is how the image looked after these adjustments were was added.

Image 3, lastly i slightly desaturated the image and below is the final product .

The process for each image was done in the same way, i just added a different textures to suit each image and make it more individual, rather than them all being the same, which was my initial idea, until i discussed it with my Tutor.

PARTY IMAGES

The images below are of all the children who attended the party, as you can see two of those didn't have a before or after photo.

All images i have included have been fairly unedited with just a small change in white balance and brightness.

When displaying the images I initially wanted to show them as before and after, but once uploaded to lightroom i wasn't very happy with the backdrop and the harsh shadow to the left of each image, this had been created by me not using the hoods for the lights. I had wanted to use flash in a way which would recreate daylight but the venue i hired made it hard for me to set up in the way i had planned at the test shoot, as i was unsure how else to do this and instead used the lights on continuous to help fill the area i was photographing in, (which was the reason i didn't use the hoods).


I used the same camera settings for each image and these were, ISO 640, F1.4, 1/125 sec.

equipment consisted of a Canon 50d, 50mm, backdrop x2 and studio lights x2
This was set up with the hessian backdrop unlit behind the children and the white background behind me, with both studio lights pointing to towards it allowing the light to then bounce back and fill the area.

A contact sheet of the children with their faces painted.

LUKE

LILLY



TY




FREYA









SAMUEL





SAM

NOLAN

KEANE

JOE

JACK

ISAAC

FRANK

ELLE

ELLA

CHLOE

ANTONIA

ALICE

ADAM

VARIOUS LIGHTING METHODS

Split. The lighting creates the effect similar to a burning candle: only one part of the face is illuminated.Key light is on the level of the nose and moved off a bit. The fill light can be lifted up or shifted closer to the camera. It is also effective for a significant "narrowing" of the face, nose, hiding any facial defects.

• Key Light.The main and powerful light source, which creates shadows withdirect(a reflector with barn doors) or soft light (a diffuser,a soft box, an umberella, a reflector panel). The power is about 300-500 W.

• Fill, fill-in light.An additional light sources with soft boxes, diffusers, etc. You can also use reflector panels,background light,kickerandhair lightfor filling effect. Often barn doors should be used to prevent different unnecessary reflections or illumination of the area you need to stay in the dark.

Three-Quarter Lighting: Short. The lighting is in 3 quarters: universal arrangement of the key light for different facial types.The key light is set up to illuminate the side of the face, turned aside from the camera. Minimizing of the illuminated side visually narrows the face. It is an acceptable lighting solution, even if the model turns the head during shooting aside.

Rembrandt (45 degree lighting).Dramatic, "male" lighting in mood.The source of the key light is placed on the level of the cheek. It is not a bright light. On the shadowing side of the face a typicallight triangleis being formed with the height, approximately equaling to the height of the nose and width of an eye.

Profile/Rim. Profile/contour lighting. The key light (when shooting a model's profile) is placed behind the object (a person looks at the reflector or at the source of the fill light).

Profile/Rim.You should create a contour lighting with the help of the key light. When using the fill light to highlight the hair-cut, the light source is usually lifted up a bit.

Paramount (butterfly, glamour lighting).Its name comes from the famous Paramount studio.It is a soft and "female" key light, directed straight to the model's face, which allows to idealize the skin to a maximum.

The key light is placed right above the eye level, the fill-in one - below the key light. Reflector can also be put from the side. A symmetrical shadow from the nose is formed, which should reach half of the length to the lips,

Loop (a variant on Paramount lighting).Loop lighting causes the shadowing to form a subtle loop on the cheek closest to the key light. Your Key Light should be lower than that used with Paramount Lighting and moved in closer toward the background. The Fill Light should be even with the camera (use the camera bag) and up higher while remaining opposite your Key Light.

Loop Lighting helps broaden the face and works very well with narrow faces with ruddy skin. The loop from the nose area should not touch the shadow area on the side of the face. It is the most flattering light scheme. At the same time, it creates a nice three-dimensional effect of model's face and body.

Three-Quarter Lighting: Broad.Universally located key light for official photography with different types of faces. The lighting source is set near the camera so as to light up turned to the camera side of the face. The shadow is minimized because it's appearing on the "narrow" side of the face. It's the most appropriate lighting type for normal and narrow faces. It's also acceptable to use it if the face isn't turned out of the camera.

Information taken from: http://www.shotaddict.com/

CHILDREN & MODEL RELEASE FORMS

Guidelines on taking and displaying photos of children
There is a potential for abuse of any image placed on the internet. This could be by cutting & pasting images, editing images or changing the context within which the images are viewed. Changing images digitally in this way is often called ‘morphing’.

Caution and vigilance is the most effective method of prevention.

Any use of children in images on the net should be suitably contextualised. That is, they should be appropriate for the activity being portrayed. Additionally, care should be taken when using images of children in the way they are dressed and the activity they are taking part in.

Images should also be considered with regard to the child’s body position during the activity, this is particularly relevant in gymnastic, dance and sporting activities, where the body may be in unusual positions.

Exercise great caution as to where you choose to post such images and which online services you use; such as free-to-view photo albums, where anyone can see the photos you have displayed.

The following steps can also be considered to reduce the potential for misuse:

• Avoid using children's full names in photograph captions. You could consider the use of 1st names, but avoid full names if an image is being shown.
• Avoid using any names if it is possible from the image to ascertain a specific location, i.e. where a School name is visible in the photo or a well known landmark is in view.
• The dress of a child should be considered when using the photo. If it is a posed shot, i.e. being presented with a medal or a team photograph, try to ensure that the child is fully clothed, e.g. in a track-suit or similar. If it is an action shot, taken during the activity, try to use profile imagery or avoid, if possible, full length shots. Alternatively, use digital software to blur the child’s facial features
• Always use a parental consent form to ensure that the parent or guardian is aware that a child’s image is being used. Try to avoid reliance on blanket acceptance procedures as part of consenting to take part in an event.
• Ensure you have obtained the child's permission to use their image. This ensures that they are aware of the way their image is being used to represent the sport. Use of a suitable permission form would address this.
• Be aware of the Data Protection Act and the use and storage of materials with people names and images included on them. Specific permissions must be sought for this from the persons and where applicable their parents/guardians.

http://www.ephotozine.com/article/photographs-of-children---where-do-you-stand--43

A copy of the model release form which i used for each child that attended the party.

INVITES

This is the invite which i designed in photoshop, its very basic but the idea behind it was that the party/fun day is a free event for children to attend, with various activities taking place including face paint and photography. I added parents contact details so that images from the party could later be email to them and bought if they wished to do so. I also wanted to make the invite interactive for the kids and they could have input from the start.

COLLABORATION

For this project i collaborated with Makeup Artist and Face Painter, Stacey Holt and Party Organiser/Entertainer, Diane Hudson.

The venue i hired for the party was at Springvale Methodist Church, Darwen.

As i was going to be with working with children i wanted to make sure that any health and saftey issues had been looked in to prior to the party, one of these were the products used for face painting.











Stacey says:
"My face painting kit is purchased from Snazaroo face paints, which are water based, hypo allergenic and fragrance free. They are also EU and FDA approved and non toxic.*FDA = Food and Drug Administration*

I also use cosmetic grade glitter which is specifically designed to use on the face.
I also use high density sponges and Royal Taklon brushes. I wash both my brushes and sponges with hand wash *kills 99% of germs* and then put the sponges on a cycle through the washer, the brushes i air dry and then spritz with hand sanitizer and leave to dry again. This happens after every session.
I also clean the childrens faces with a tea tree face wip before painting and never paint on a child with skin irritations, cuts or scabs or any illness (chicken pox etc).

My paints are cleaned after ever session with a tea tree wipe and hand sanitizer as well."

After speaking with stacey and discussing the products she uses i also researched in to some of the products she mentioned, below is part of a discussion on the Snazaroo website:

"A common question on the discussion list for face painters is "are all glitters safe for use on the skin" and the answer is simply NO. One should not use any product on the skin, particularly on the face, unless it is cosmetic compliant. This is magnified when you use the product near your eyes. If your product does not say something like "FDA compliant", "cosmetic compliant" or "made for the use on skin" simply do not use it on the face. Your product container should specifically announce that it is safe for the use on skin. If not, it is PROBABLY craft glitter that has a completely different standard. ASTM approved glitter simply means when used as intended as an art product it is safe."


link to rest of the article and Snazaroo's main website...
http://www.snazaroo.us/faqglitter.htm
http://www.snazaroo.com/


Here are some of the images from the day.

Stacey doing the face painting

Di playing games with some of the children.