Paul Ward

Paul Ward is a Birmingham based photographer who specialises in portrait and fashion photography. He took a degree at Wolverhampton University in electronic media and is accomplished in many areas other than simply photography, such as digital photo-manipulation, 3d computer animation, video production and graphic design.

I have chosen the following images for various reasoins:

The light in this image is reflected all down the stairs. The eye is swept along the staircase, in the direction that the woman is looking, and you are drawn automatically up and around her.

There is a good amount of detail in the lines of the stairs and the patterns in the stonework that simply adds detail to the image.

Dressing the girl in black add a contrast to the lightness of the rest of the image.

Even the position of the top stairwell adds additional focus and interest to the subject matter and balances the image.

I partiularly like the simplicity of this image. A guy sitting amongst his mess, or rather his musical wires and pedals.

There is much to see in this photo, but it is the apparent obliviousness to his surroundings, as he is focused on playing his guitar that creates added appeal.

Is she trying to escape from prison, or is she trying to entice you in?  The focus is on the girl in the image, as she pulls the beads apart. Immediately your eye is drawn o her and then you wander into the picture as you begin to look behind the beads.
This does give a prison bar type feel, but obviously it is not.

How does he keep the face totally focused whilst the rest of the image is moving all over the pace? The intense use of colour in this picture vreates a carnival atmosphere and the blurring effect indiatce movement.

The focal point is position in the first third of the picture, adhering to the rule of thirds, but also allowing for the guitar to occupy a substantial part of the image.

I just love the duplicity in this image. although it seems to have been heavily photoshopped, this gives the image a cartoon like character.

Centering the character, but positioning the original in the top third creates a double whammpy, when the reflection is in the bottom third.

There is much detail in the sky too, which adds detail to the image.

Statement of Intent - Assignment 208 - People and Portraits

Intentions/purpose of the photography to be undertaken.
I am very interested in faces, young and old. Creased skin, vacant eyes, happy and sad expressions, all create interest and intrigue and this is why I am looking at people and portraits.
The use of light to create atmosphere and mystique within a photograph intrigues me and I am looking to seek inspiration from a number of sources to enhance my ability to capture the moment.

Reasons for Selection of theme (including inspiration from the work of others)
I am especially interested in people and portrait photography as it provides an ability to create mood and feeling into a picture. Expressions of joy, or of sadness can be exaggerated by the use of colour or the emphasis of shadows and darkness.


Composition of the picture, with the positioning of the people or objects in relation to the focal point, also enables the photographer to create meaning in the image.


I did not want to use the studio to create images as, whilst this can give truly excellent results, I am not often in a studio and the majority of my photography is taken when I am out and about. I have been studying the works of Bjorn Thomassen, Paul Ward, and Brett Harkness, to gain some addition vision and insight into the world of Portrait Photography.

The photo imaging equipment and medium that will be used and why.
I will be using the following:

• Canon 400D Digital SLR Camera
• Canon 18-55mm Lens (f3.5-5.6)
• Sigma 10-20mm wide angle lens (f4-5.6)
• Tamron 55-200mm Zoom Lens (f4-5.6)
• Nissin Di622 Speedlite ETTL Flash
• Camlink TPPRO 028B Tripod with a Manfrotto Pistol Grip head.

With reference to publishing the images, I will be using the internet, in particular this blogsite, as my established medium for distribution. It is widely available for all to access and allows my work to be quickly viewed and commented on.

Techniques that will be used and how they will help convey the visual message

1. The use if different lenses to create different  effects will draw the eye into different aspects of the image. For portraits a wide aperture and a large lense creates an excellent shallow depth of field and really focuses on the image of the subject.
2. It is important to get the composition right, so as well as focusing on the subject, get the setting right and  use whatever is available in your surroundings to create emphasis on the subject. PLan ahead wherever possible.
3. Colour or black and white, or even removing certain colours to leave an interesting effect will all be employed to create the right effect.
4. Working in manual, or semi-manual (Aperture priority mode) will give you control of the finished project. So, using combinations of the right aperture and shutter speed combined with an appropriate ISO setting will enable you to control the outcome.
5. You can use flash to increase light, or to fill in the foreground on a back-lit situation, or to highlight a particular area to create emphasis on the topic. The key thing when working outdoors, is to vary the time of day that images are taken to ensure you have the right conditions for what you are trying to achieve. 
6. Finishing the image will also play an important role. The main aim is to have minimum use of software to enhance or adjust the original image, but certain effects will require the use of specific applications (PSE for example) to create the effect that you are trying to achieve.
   

How light quality can be used to help convey the visual message
The effective use of light is critical in delivering the end result. How much? How little? The time of day. The sky, is it bright and sunny, or is it cloudy and grey? The amount of light you have can be helped through increased ISO settings, or by the use of external flash.
Harsh light is to be avoided, if at all possible, as it removes skin tone and bleaches the image. For portraits you may need to use reflected light in order to remove shadows in certain scenarios, but for others, you may want to position your subject where light higlights only certain parts rather than the whole image. So you ned to think about the end result and then use the light accordingly.
Use flash to back-light a location or to emphasise a part of the image.
Your surroundings too will have an effect on the light that you have and the amount of light that you want to add.

Safety considerations
I am sure that the health and safety executive have a number of rules and regulations to cover this topic, but here are some of the things that I think one should consider to help to minimise the risk in outdoor photography:

1. Always keep an eye on where you are and what is around you. Do not stand too close to edges of precipices for example and make sure that you cannot get run down by a car!
2. Look around you. Make sure that you are not in any direct danger from the location - falling debris in a wooded location, falling rocks in a quarry, or falling masonry or other if you are in an urban scenario.
3. Avoid climbing or standing on ladders on uneven ground.
4. Take your telephone in case of trouble. 
5. Scope out the location before you take your kit with you. Look at the possible areas of concern and make sure you do not put yourself into obvious danger.
6. Let someone know where you are and when you are likely to be back - just in case.
7. Protect your equipment from danger too and make sure that it is in a secure case or bag.
8. Be aware and respectful of your surroundings and do not drop litter.
9. Do not antagonise the locals (people or animals). Be respectful of your surroundings.
10. If you are on private land, seek permission first before being confronted by land owners.

5 Image Assignment

I was not at the original meeting when this was issued but have taken these photo's since. The majority of them fit the brief exactly (although you may have to look very hard to find the people in some) but there is an issue with the ISO1600 shot, which does not include a person. Anyway, here goes....

ISO 100: f32: shutter speed 1/160: Lens 55-200mm

With this particular photograph I was trying to emulate Jonathan Chritchley, with the blankness of the grey and the scale. The picture was taken on a grey, hazy, day when the sun came out briefly to really highlight certain areas. I like the reflection from the water on the sand, the smallness of the surfers and the blankness of the image.
There are a number of blemishes on the lens (spray) which would normally be removed in PSE and I may have lightened the whole picture, in reality. But I wanted to present the image with no adjustment or enhancement.

ISO 200: f6.3: shutter speed 1/250: Lens 55-200mm

With this picture I was concentrating on the 'lip-gloss applicator'! However, taken in front of the window on a sunny day, the natural light adds a very contrasting image. Taken with an aperture setting of  f6.3, the back of the image is blown out.

ISO 400: f7.1: shutter speed 1/8: Lens 18-55mm

Walking down the street, I noticed a 'traffic mirror' and decided to take this self portrait. In reality, I think that this image is a little dark, but to be honest, it was taken at about 7:00am and with the wind blowing a gale, I found it difficult to focus and to stand still long enough to obtain a steady image.

ISO 800: f11: shutter speed 1/5: lens 18-55mm

The colour in this image is especially pleasing. This vase was taken in a hotel lobby whilst waiting for a plane. Keeping the camera steady was the trick in this. I could have shot with a wider aperture, but this gave me the best and most vivid colour response.

ISO 1600: f10: shutter speed 6.0: Lens 18-55mm

At 6:45am on a Saturday morning in Lichfield you can often find the odd empty beer bottle or two. Using my tripod, I placed this bottle on a wall overlooking Stowe Pool (the Cathedral moat) and used the lights from various buildings and street lamps in the background to create more interest.

Jonathan Chritchley

I have researched, via the internet again, another UK photographer, Jonathan Chritchley. Jonathan was born in Wimbledon, but moved to Lymington on the south coast at the age of 14; where his fascination of the sea developed. In 1998 he moved to Biarritz, southern France, which has enabled him to continue to develop his work not only taking on all things related to the sea, but also has allowed him to work in the mountainous region of the Pyrranees.

This picture is typical of his style. Working extensively in black and white he creates a mystique all of his own.

What makes this picture so enthralling? I don't really know. It is merely a fishing hut, on its own, out at sea, connected via the walkway adjacent to the hut.

But there is nothing and it is the 'nothingness' that makes it so intriguing.

The use of light, or rather, the darkening of the top and bottom does draw you towards the horizon and the fishing hut, which itself seems shrowded in a bright light.

As for the horizon, it is almost non existent, with just a hint of contrast between the sea and the sky.

Having the post sitting on the left, off-sets the loneliness of the hut and does balance the view, but this is a cold and lifeless image that is haunting in it's solitude.

The small aperture and  longer exposue in this image has ensured a milky quality to the waterfall. The eye is drawn from right to left and over the edge of the rocks. There is a contrast between dark and light, with the motion going for the dark towards the light.

The eye is drawn into this image through the hardness of the rock line moving from right to left, towards the centre of the image. The contrast between the dark sky and the lighter water keeps the eye down onto the sea. The sea has taken on a misty form which in itself contrasts greatly with the harshness of the rocks.

The sharp edges of the rocks and the cracks in those rocks add an aditional quality to the rocks themselves.

With nothing in the picture apart from six sticks it is difficult to understand how Jonathan was originally inspired by the initial view. The milky water is softened and gives the sticks a harsh reality against the flatness of the sea. The dark sky keeps you looking doawn towards the sticks and to the light milky water.

I absolutely love the way that these sails billow in the wind. Being a black and white images enhances the quality of this image. The contrasts here are between the solid sail on the right and the soft billowing sail on the left. Yet again, this is a picture of contrasts.

Paul Forgham

 I discovered Paul Forgham by searching through Google. However, I am very interested in his work, especially his seascapes and the way in which his photographs are finished.

As he is a UK based photographer, I think there will be more opportunity to see some of his work displayed somewhere and will be looking over the coming weeks to see where that may be. Having been on his website I have also emailed him to establish where he may be exhibiting and to gain more information about him and his work.

The image below is a classic example of his technique. The line of the rocks draws you into the distance and pulls you into the  picture, as do the clouds. The rocks themselves stand out, looking hard and sharp against the soft, milkiness, of the water.

I assume, but have no data to support, that this has been taken on a wide angle lens with a slow shutter  speed to flatten the water. To exaggerate the centre of the picture, it also appears that a vignette may have been applied, darkening the edges.

I really like this picture. It is  clear and to the point. It draws you in and has depth. The sky gives it warmth and the lightness of the rock detail contrasts nicely with the dark blue of the skies.

Assignment 208 - Principles of Location photography

I have decided to do this assignment and to specialise in People and Portraits and Nature photography. I have always been interested in faces and in objects in isolation. I grew up in the countryside and have an affinity to that, hence my interest in the 'nature' elements too.

Level Two Certificate in Specialist Photography and Presentation

I have chosen to do this course so that I can work on my outdoor portrait work. I have opted to do courses 211 - Presenting photo images and course 208 - Principles of location photography.