Visit to Taylor Wessing Portrait Prize 2011

Favourite Images From the Competition

I recently visited the Taylor Wessing Portrait Prize 2011 at The National Portrait Gallery.  The standard was once again very high.  I have shown below some of my favourite images from the competition this year:

"Kiera Knightley" by Michael Birt.

This is an exceptionally good portrait of this much photographed actress.  I particularly liked the seemingly simple lighting.  It almost looks like light from a window but is probably shot in the studio.  The dark background adds to the classic look of the photograph.

"Tatiana and Belene" by Yann Gross.

This is an interesting image where the llama is the most prominent part of the composition.  The model appears to be wearing products made from the wool of the llama.  This ties the two together.

"Harriet and Gentleman Jack" by Jooney Woodward.

This is a very subtle image where the colours of the girl's hair and the fur of the guinea pig match closely.  It also helps that the girl's finger nails are painted red.  The white coat helps to simplify the image.

"Wen" by Jasper Clarke.

This photograph is a good example of a contextual portrait.  The artist is shown in her studio surrounded by some of her work.  The artist appears relaxed and confident in her surroundings.

"Dolly Parton" by Zed Nelson.

This is an image of the much photographed Country and Western singer Dolly Parton.  The composition places her in an hotel room.  She is surrounded by very feminine furnishings in contrast to her stage clothes.

Photography 1: P & P, Proj 4: An Active Portrait

Project 4: An active portrait

The objective of this exercise was to experiment with taking portraits of a subject when they are distracted by doing something.  I concentrated on the subject rather than what they were doing.  I was interested in the subject's facial expression.  One advantage of photographing someone when they are engaged in doing something and therefore not consciously aware of the camera, is that their facial expression is often more relaxed and "normal".  This type of photography can seem slightly voyeuristic unless the subject is known to the photographer.

I have included a number of images produced by other photographers who have successfully created active portraits.

Amazon-3; Per-Anders Petersson.

In this photograph, taken in the Amazon rainforest, a young woman is busy sweeping her porch.  She is completely engrossed in her work.  The body position of the subject is particularly interesting.

Amazon-4; Per-Anders Petersson.

In this photograph, again taken in the Amazon rainforest, a young woman is trying her hand at tapping a rubber tree for latex under the guidance of a skilled worker.  Her face is animated and interested in the activity.

Amazon-6; Per-Anders Petersson.

Here a group of men are inspecting the rubber sole of a training shoe.  The subjects appear not to notice the camera and are relaxed and interested in what is being discussed.

Nat-Geo-1; Desmond Boylan.

In this photograph a young boy is enjoying an impromptu game using an overflowing gutter.  He is quite relaxed about being photographed because he is enjoying the game.  His pose and facial expression are interesting.

Nat-Geo-5; Erika Larsen

The woman in this photograph is busy processing grass into rope.  She is engrossed in the task in hand.  Her facial expression is particularly appealing.

8082; Nikon D300; 50mm Prime Lens; F1.8; 1/100s

I took this photograph whilst the subject was busy with her mobile phone.  She was only partially aware of the camera's presence.  This has resulted in much more relaxed and natural facial expression.

What have I learned from this exercise?

In order to create a natural portrait of a subject it is sometimes necessary to get them to engage is some form of activity or to explain something in detail.  The subject can become so engrossed in the activity or the explanation that they are less aware of the camera's presence.

Photography 1: P & P, Proj 3: Experimenting with Light

Project 3: Experimenting with light.

Using the same subject throughout and keeping the framing similar, a standard head and shoulders portrait, I took a series of photographs under different lighting conditions.

Initially I looked at other photographer's portrait work under differing lighting conditions.  These are shown below:

Amazon 2; Photographer: Per-Anders Pettersson; Gemma Arterton Visiting The Amazon

Sunrise through the aeroplane window illuminates the subject.  Window light fills the other side of the subject's face.

Amazon 5; Photographer: Per-Anders Pettersson; Rubber Farmer In The Amazon

Dark foliage absorbs much of the light.  The main lighting is from overhead, putting the face of the subject in shadow.  This is made worse by the cap worn by the subject.

Amazon 7; Photographer: Per-Anders Pettersson; Plantation Workers In The Amazon.

The darkness of the hut frames the subjects.  The only light falling on the two subjects is from outside.

Portrait 1; Photographer: Unknown German Photographer; Source: Die Zeit Newspaper

This portrait has attractive, even and natural looking lighting.  Possibly a reflector has been used to the right to illuminate the subject's hair.

Nat Geo 3: Photographer: Erika Larsen; Source: National Geographic Magazine

This portrait has good, even lighting due to the light reflected from the surrounding snow.

Nat Geo 4: Photographer: Erika Larsen; Source: National Geographic Magazine

Again this portrait has good even lighting due to the reflected light from the surrounding snow.  The colours appear vivid against the plain background.

8056; Nikon D300; F11; 1/60s

The lighting used for this photograph was an on-camera flash with a gold reflector below the subject's face to light the shadows.

8057; Nikon D300; F11; 1/60s

The lighting used for this photograph was an on-camera flash with a diffuser, (Gary Fong Light Sphere) without the lid on.  This has resulted in heavy shadows under the eyelids and chin of the subject.

8059; Nikon D300; F5.3; 1/60s

The lighting used for this photograph was an on-camera flash with a diffuser, (Gary Fong Light Sphere) with the lid on.  This has resulted in a better distribution of light but with some shadows under the eyelids and chin of the subject.  The result is a more attractive portrait.

8060; Nikon D300; F8; 1/40s

The lighting used for this photograph was an on-camera flash with a diffuser, (Gary Fong Light Sphere) with the lid on.  In addition a gold reflector was placed below the subject's face.  This has resulted in a much better distribution of light and the avoidance of shadows under the eyelids and chin of the subject.  The result is a much more attractive portrait.

8065; Nikon D300; F8; 1/40s

This photograph was taken using sunlight filtered by a window blind.  A gold reflector was placed below the subject's face.  This combination of lighting has produced a very attractive portrait.

8071; Nikon D300; F11; 1/400s

This photograph was taken outside in bright sunshine.  A gold reflector was placed below the subject's face to reduce the shadows under the chin.  This form of lighting has produced bright, saturated colours but is harsh and not particularly flattering to the female face.

8075; Nikon D300; F11; 1/200s

This photograph was taken outside in bright sunshine but with the sun shining at an oblique angle.  A gold reflector was placed below the subject's face to reduce the shadows under the chin.  This form of lighting has produced a more interesting portrait than the previous photograph.  The lighting is still harsh and not particularly flattering to the female face.

What have I learned from this exercise?

In order to produce an attractive portrait of a female subject, the best form of lighting to use is diffused sunlight as in image 8065.  This could be produced in the studio using a softbox or similar.  Using a gold reflector beneath the subject's face provides a warm light to illuminate the shadows.

Photography 1: P & P, Proj 2 - Thinking About Location

Project 2: Thinking about location.

For this project I played the role of location hunter.  I sought out 6 different settings or backgrounds that could be used effectively for either a whole body or torso portrait.  I took into account the space available for positioning the camera using a longish focal length lens and the lighting.  I looked for tonal and textural simplicity from edge to edge.  I took reference photos of each of the locations without people.  Finally, I chose one of the locations and returned with a portrait subject and photographed them.  The images are shown below:

5763.jpg; F11; 1/350s

5767.jpg; F11; 1/125s

5773.jpg; F11; 1/180s

5776.jpg; F11; 1/350s

5780.jpg; F11; 1/90s

5788.jpg; F13; 1/60s

Below is the final portrait of the subject at the chosen location:

5764.jpg; F11; F1/350s

What have I learned from this project?

It is important when travelling around with a camera to keep an eye open for suitable portrait locations.  When a suitable location is identified a reference photo should be taken and a note made of the location.

Photography 1: P & P, Proj 1 - Portrait, Scale & Setting

Project 1: Portrait, scale and setting.

For this project the objective was to find an interesting and attractive setting.  In the chosen setting I took a series of portraits of a subject.  The first portrait was taken of the subject's face, cropped in close.  The second was of the subject's head and shoulders.  The third was of the torso, taking into account arms and hands.  The final was of the full figure, head to toe.  The resulting images are shown below:

5793.jpg; F13; 1/250s

In this close-up shot of the subject the sun is quite bright and this has caused the eyes to be slightly obscured.  It would be better if the portrait had been taken in more subdued lighting so that the eyes would be more relaxed and more visible.  The photograph was taken using a long focal length lens, (about 90mm) in order to flatten the subject's features.

5794.jpg; F13; 1/250s

This portrait of the head and shoulders of the subject reveals more of the background.  The background is quite plain and therefore does not overwhelm the photograph.  The subject's clothing, such as the scarf are more noticeable in this portrait.

5764.jpg; F11; 1/350s

This portrait of the torso of the subject includes more of the background.  I chose a plain stone wall and distant sea scape as the background because they have little detail to distract the viewer's eye.  I asked the subject to fold their hands together so that they did not catch the viewer's eye.

5854.jpg; F9.5; 1/45s

For this portrait of the full figure of the subject I chose to have the subject seated.  This pose has put more emphasis on the upper part of the body.  The face remains the main focus of the portrait.  The hands are folded as before so they do not catch the viewer's eye.

What have I learned from this project?

When creating a portrait it is best to use subdued lighting where possible so that the eyes can be given more prominence.

Take care to choose a plain background for the composition so that the viewer's eye remains focussed on the subject.

Photography 1: TAOP, Ex Rain

Project: Illustration
Exercise: Rain

In this exercise, the object was to create a photograph that would be suitable for the cover of a magazine on the subject of rain.  The brief was to produce a strong image that would leave no one in doubt about the subject.

5707.jpg; F4; 1/90s

For this photograph I chose to illustrate rain as it was illuminated by a car's headlamps at dusk.  I chose to use a relatively fast shutter speed so that the individual raindrops were differentiated but still gave a feeling of movement.  I have tried to make the photograph attractive through the use of bold colours and the yellow light of the car's headlights.  I chose to take the photograph at dusk so that there would be sufficient light around to show the car as well as the lights.

What have I learned from this exercise?

When producing an image to portray one subject, you should produce a strong, attractive photograph that leaves no one in doubt about the subject.

- think of all situations of the subject that you have ever seen.

- keep it simple.

- be interesting; don't settle for an ordinary shot.

- if you can't be completely original, at least make the photograph attractive.

- even if your idea is original, still make the photograph attractive.

Photography 1: TAOP, Ex Juxtaposition

Project: Illustration
Exercise: Juxtaposition

5700.jpg; F22; 1/15s

In this photograph an artist is shown surrounded by the her work.  The artist works in kiln-formed glass to create her objects.  The line of objects to the right of the photograph lead the eye to the artist and provide a link between them.

What have I learned from this exercise?

Putting together two elements so as to suggest a relationship is the mainstay of illustration.  One or both of them can be symbols, but even this is not necessary.  The important thing is to suggest a connection.  One of the easiest ways of doing this is simply to place manageable objects together, in a still-life shot of one kind or another.  Still-life photography has the considerable advantage of being controllable, and possible to do, whatever the weather and lighting outside.  This is one reason why so much still-life photography is used in advertising, on book covers and in magazines.

Another way of combining images is to find a viewpoint, together with an appropriate focal length of lens, that shows the two elements together.

Photography 1: TAOP, Ex Evidence of Action

Project: Illustration
Exercise: Evidence of action.

5689.jpg; F22; 1/45s

This photograph shows the aftermath of some sort of dramatic incident.  The remains of an afternoon tea party are depicted.  Something catastrophic has occurred resulting in chairs being overturned, crockery broken and tea spilt.

What have I learned from this exercise?

Where illustration really comes into its own is in dealing with subjects that are not straightforward solid objects or obvious events.  Abstract ideas and concepts usually need an imaginative treatment in order to be put across in a single photograph.

One example from the commercial world is insurance.  Insurance companies have to face this problem whenever they want to make a simple image to show what they offer.  Most images used have to do with protection, which is what insurers offer, and include shields, umbrellas, fortifications (like castles), and cupped hands.

All of them are visual analogies, symbols for protection.  Symbolism is one of the main techniques in illustration; if you choose an appropriate symbol, it can solve the problem of showing an abstract idea at a stroke.

Photography 1: TAOP, Ex Outdoors at Night

Project: Available light.
Exercise: Outdoors at night.

For this exercise I took pictures to explore the variety of lighting effects and colour in artificial light.  When taking exterior pictures at night that include the sky, I ensured that the sky was not completely black.  Dusk was the best time, when there was just a hint of light in the sky, and the building appeared more clearly.

The photographs taken are shown below:

5675.jpg; F11; 3s; Daylight WB

5676.jpg; F11; 3s; Tungsten WB

The two photographs above were taken at dusk from outside a brightly lit house.  The first photograph was taken using a white balance setting of daylight.  For the second,  the white balance was set to tungsten.  The tungsten white balance setting gives an attractive blue cast to the night sky.  In order to achieve a bold blue colour, there must still be some brightness in the sky.

1936.jpg; F2.8; 1/50s

This image was taken from a poorly lit underground car park into the entrance of a Chinese supermarket.  The colours are predominantly yellow.  The light is provided by relatively harsh fluorescent lights.

1939.jpg; F2.8; 1/80s

This photograph was taken in a busy, brightly lit Chinese supermarket.  The overall yellow colour of the image is mainly due to the bright yellow coloured floor.  This colour is reflected onto the ceiling by the bright lighting.  There is some relief from the yellow colour from the red items and clothing of the people within the store.

Auckland at Night; F27; 3s

The photograph above of the Auckland skyline was taken just as the light from the sky was beginning to fade.  Some light remained in the sky and this has helped to show the outlines of the buildings more clearly.

Candle Lamps; F22; 2.5s

The photograph above was taken outside at night.  The only light available was from the candles.  The candles provide a warm yellow light.

1940.jpg; F4.8; 1/5s

The photograph above is of a floodlit pub.  The photograph was taken hand held and this has resulted in a slightly blurred image.

1941.jpg; F2.8; 1/10s

This image is of a floodlit hotel.  The cars parked in front of the hotel helped to hide the floodlights.

1943.jpg; F2.8; 1/8s

1946.jpg; F2.8; 1/4s

The two photographs above were taken at Luton Hoo in Bedfordshire.  The building is now an upmarket hotel.  The hotel owners have lit each of the majestic buildings with warm white lighting.  This lighting gives a more inviting feel to the buildings.

1949.jpg;F2.8; 1/8s

This church in Harpenden is floodlit with a yellow light.  This form of lighting, although possibly cheaper to run gives a harsh colour to the building.

1952.jpg; F2.8; 1/40s

This Chinese restaurant has been floodlit with sophisticated white light.

5677.jpg; F22; 6s

5681.jpg; F22; 8s

5679.jpg; F22; 8s

The three photographs above were taken from a flyover above the M1 in Bedfordshire.  The lights of the cars and slow shutter speed have produced interesting effects in the images.  In the third image, (5679)  the lines of light have a zigzag effect.  This was due to a car passing over the bridge I was on during the exposure.  I have included it due to its interesting effect.

What have I learned from this exercise?

The variety of colours present at night are many.  Many buildings look more impressive when floodlit at night.  The choice of floodlight colour is important to achieve a desirable effect.

Shops and internal spaces are often more dramatic when brightly lit and viewed from the dark street outside.

When photographing a brightly lit interior of a building, setting the white balance to tungsten gives an attractive blue cast to the night sky.  In order to achieve a bold blue colour, there must still be some brightness in the sky.