I mainly looked for character in my images, images that felt like they were part of a story so the viewer could try to imagine what was happening or what would happen next.
Here are some screen shots of the process I undertook for each of my final images, 1.image right out of camera 2. Adjust levels increasing the intensity of shadows 3. White frame to create an old hand printed feel 4. A layer of sold colour at a very low opacity to create the sepia effect (i chose to do this less for creative reasons more for practical ones, all the frames I seemed to be finding with-in my budget were dark wood making the black and white images appear to be very cold in tone the sepia warms them just enough to negate this effect).
I will undertake the same process with all my images opening them simultaneously to make sure the tone of each sits well together.
As stated in my previous post the wolverton shoot was intended to be the sources of the demon share of my final images, having such a perfect location at my disposal seamed like to good an opportunity to waist. of course I had back up plans in case I didn’t get the material I wanted but thankfully that was not an issue, as id hoped the station was easily divided up into a series of smaller locations giving me a wealth of opportunity.
Again I shot monochrome in camera, then added a light sepia tone to the images in post edit, i will wright a post about the editing process later on.
this has been my biggest staged shoot by a wide margin using eight models and such a large location without the assistance of Chris Drewery I would have struggled, see his work here>>> https://www.facebook.com/chrisdreweryphotography
in hindsight the only thing I would have changed would be to stagger the times at which the models arrived meaning I wouldn’t have so many people waiting around in-between shots, but most of all this have inspired me I now know I can pull off large scale location shoots and am excited to organise my next.
The former royal station at wolverton is where the majority of my images would take place, so it tool the largest amount of planning, thankfully the owner could not have been more helpful, Allowing me access to the whole property including its out buildings. again with this shoot my models are in the main part vintage enthusiasts so they provided their own costumes hair and make-up making things far more simple and easy on the budget.
contact sheet wolverton shoot
The first shoot at brockwells garage went really well, the gentlemen that own the garage had two beautiful 1940s cars that they happily let me use. The only real obstacle we faced were the modern details in the garage and the natural lighting, after a few test shots I decided to embrace the natural light and give up using flashes.
my model is a retro fashion enthusiast and thus provided her own costume as well as doing her own hair and make-up, using costume give the images a far more authentic feel, allowing the viewer to suspend dis-belief and trust that the images are older than they appear. Looking back on the shoot I don’t think it could have gone better, the only think I would have done differently given the chance would have been taken more advantage of the interior of the cars, it was something I had intended to do, but as it is a working garage I wanted to leave as soon as possible to allow the staff to continue their work and the shot slipped my mind (in future a detailed shot list will be used).
To me the noir genre has always been an exciting and inspiring part of pop culture, obviously due to my age I wasn’t around for the original source marital but I was first exposed to the shadowy corners and chiselled jaws or noir by the early batman animated series.
At the time I was naive to it what it was that I liked so much about the imagery, The dark night (batman) is portrayed as a shadowy hero aloft an art-deco city full of flat cap wearing goons, the spirit of it all is a mysterious hero that works just outside the law doing what’s right the same spirit I found in the original pieces of the genre.
A perfect example of this is “the big combo” a 1955 American piece directed by Joseph H. Lewis with cinematography John Alton,
In “the big combo” Police Lt. Leonard Diamond goes on a personal mission to bring down gangster Mr. Brown. He also has a strange obsession with the suicidal girlfriend of Mr. Brown. His main objective as a detective is to uncover what happened to a woman called “Alicia” from the crime boss’s past.
This shadowy love triangle perfectly illustrates the sort of dark brooding imagery that runs throughout all noir and in short I love it!..
The Gents over at brockwells kings lynn were kind enough to allow me not only the use of their space but also two classic cars,
with a single model, single flash and some static lights i tied to create the feeling i was looking for in the images but in the end used natural light (which thankfully was in abundance)
Contact sheet garage shoot
thanks to Chris Drewery for assisting and providing the behind the scenes images
Gregory Crewdson was born in Brooklyn, NY. graduating early from John Dewey High School,
in his younger years, he was a meber of the punk band “The Speedies”
Their most popular song “Let Me Take Your Photo” proved to be a forshadow of Crewdson’s later succsess.
Hewlett Packard used the song in 2005 to advertse to promote its digital cameras.
In 80’s Crewdson studied photography at SUNY Purchase. He received his Master of Fine Arts from Yale University.
He is now a professor at the Yale University School of Art.In 2012, he was the subject of the feature documentary film Gregory Crewdson: Brief Encounters.
Gregory Crewdson’s photographs usually take place in small town America, but are dramatic and cinematic.They feature often disturbing, surreal events. The photographs are shot using a large crew, and are elaborately staged and lit.
Untitled photo from Crewdson’s series Beneath the Roses (2003–2005)
He has cited the films Vertigo, The Night of the Hunter, Close Encounters of the Third Kind, Blue Velvet, and Safe as having influenced his style, as well as the painter Edward Hopper and photographer Diane Arbus.[