1st shoot at local art cafe

unfortunately, my first shoot had been less than successful with me not being able to get the images i wanted to achieve.

I got the people who i photographed to sign model release forms.

Model Release Form

Photographer Sean Warman

Email Address   s.warman@edu.salford.ac.uk

Model’s name............................................................................................................................

Model’s email address (Optional)...........................................................................................................

Date…………………….

By signing this release I hereby give the Photographer my permission to license the Images, and to use the Images in any Media for any Educational purpose (excluding anything unlawful) Images will not be used for advertising, promotion, marketing and packaging for any product or service. I agree that the Images may be combined with other images, text and graphics, and cropped, altered or modified.

I agree that I have no rights to the Images, and all rights to the Images belong to the Photographer. I acknowledge and agree that I have no further right to additional Consideration or accounting, and that I will make no further claim for any reason to Photographer. I acknowledge and agree that this release is binding, and I agree that this release is irrevocable.

Do not hesitate to email me if you want a copy of the photograph taken of you today. Your time and support for my project is gratefully received. 

Henri Cartier-Bresson

The decisive moment i feel is important in all photography shoots, even editorial, especially when you want to catch what the person is doing. often a photo that does not feel staged can come out better, then a photo that does feel staged.

http://www.magnumphotos.com/C.aspx?VP3=CMS3&VF=MAGO31_10_VForm&ERID=24KL53ZMYN


The Decisive moment
http://www.photo-seminars.com/Fame/bresson.htm

Regarded as one of the greatest photographers of his time, Henri Cartier-Bresson was a shy Frenchman who elevated "snap shooting" to the level of a refined and disciplined art. His sharp-shooter’s ability to catch "the decisive moment," his precise eye for design, his self-effacing methods of work, and his literate comments about the theory and practice of photography made him a legendary figure among contemporary photojournalists.

Mangnum Photography

http://www.telegraph.co.uk/culture/photography/8874329/Magnum-Contact-Sheets-The-Symposium.html

magnum photographers work is protected so that their artwork cannot be changed by a magazine, unless explicitly given permission by the photographer and magnum.

Magnum Contact Sheets: The Symposium

A one day event addressing the selection and sequencing of photographs.

Image 1 of 2

Contact sheet showing tanks in Beijing by Magnum photographer Stuart Franklin Photo: STUART FRANKLIN/MAGNUM PHOTOS

2:59PM GMT 07 Nov 2011

A landmark new book, Magnum Contact Sheets presents an unparalleled wealth of unpublished material, revealing the story behind many iconic and historical images of modern times taken by the world’s most celebrated photographers. The book shows their creative process and also acts, in the words of Martin Parr, as an ‘epitaph to the contact sheet’ as it marks the end of the analog era as we move to a digital generation.

Magnum Contact Sheets presents, for the first time, the very best contact sheets created by Magnum photographers. Contact sheets tell the truth behind a photograph. They unveil its process, and provide its back story. Was it the outcome of what a photographer had in mind from the outset? Did it emerge from a diligently worked sequence, or was the right shot down to pure serendipity a matter of being in the right place at the right time?

This seminal publication provides the reader with a depth of understanding and a critical analysis of the story behind a photograph, the process of editing it, and the places and ways in which the selected photographs were used. For anyone with a deep appreciation of photography and a desire to understand what goes into creating iconic work, Magnum Contact Sheets will be regarded as the definitive volume.

Magnum Contact Sheets: The Symposium is held in conjunction with the Photography Department of London College of Communication. This one day event will discuss and address topics and issues raised by the book; in particular the foreword written by Kristen Lubben, Associate Curator of the International Center of Photography, New York. The Symposium will be introduced by Sophie Wright, Cultural Director atMagnum Photos.

Speakers include:

Simon Baker, Photography Curator at Tate Martin Barnes, Senior Curator, Photographs, V&A David Campany, artist, writer & critic and Reader in Photography at the University of Westminster, London Zelda Cheatle, partner of The Tosca Photography Fund David Hurn, Magnum photographer and founder of the School of Documentary Photography in Newport Francis Hodgson, writer & photography critic Sean O'Hagan, photography writer, The Guardian Colin Jacobson, author and former picture editor Peter Marlow, Magnum photographer Andrew Sanigar, Commissioning Editor at Thames & Hudson

 

Local Newspapers

Newspapers tell stories, and need editorial photographs to help them, as well as stories, local newspapers often have sections about things that happen locally and whats on, often the images shown help to tell that story, this is editorial photography.








 

Information leaflets research

travel and information leaflets often have information in  them and photographs about the place that trt to tell a story or some of the information about the place or product.

Portrait photography

Info on portrait photography
http://photo.net/learn/portraits/

If you don't have or can't create a photo studio, concentrate on environmental portraiture. Show the subject and also his surroundings. These tend to work best if you can enlarge the final image to at least 11x14 inches. In any smaller photo, the subject's face is simply too small. Taking photos that will enlarge well is a whole art by itself. Your allies in this endeavor will be a low ISO setting, prime (rather than zoom) lenses, a tripod, and at least a mid-range digital SLR.

There are two elements to a photo studio for portrait photography. One is a controlled background. You want to focus attention on your subject and avoid distracting elements in the frame. Probably the best portraits aren't taken against a gray seamless paper roll. On the other hand, you are unlikely to screw up and leave something distracting in the frame if you confine yourself to using seamless paper or other monochromatic backgrounds. You don't have to build a special room to have a controlled background. There are all kinds of clever portable backdrops and backdrop supports that you can buy or build. If you absolutely cannot control the background, the standard way to cheat is to use a long fast lens, e.g., 300/2.8. Fast telephoto lenses have very little depth of field. Your subject's eyes and nose will be sharp. Everything else that might have been distracting will be blurred into blobs of color.

The second element of a portrait studio is controlled lighting. With lights on stands or hanging from the ceiling, you get to pick the angle at which light will strike your subject. With umbrellas and other diffusion equipment, you get to pick the harshness of the shadows on your subject (see out studio photography primer). There are some pretty reasonable portable flash kits consisting of a couple of lights, light stands, and umbrellas. These cost $500-1000 and take 20 minutes or so to set up on location. If you don't have the money, time, or muscles to bring a light package to a project, the standard way to cheat is to park your subject next to a large window and put a white reflecting card on the other side. Don't forget the tripod, because you'll probably be forced to use slow shutter speeds.

Duane Michaels Research

Short Biography of Duane Michals as found on www.artfact.com

(b McKeesport, PA, 18 Feb 1932). American photographer. He had no formal training but recognized his photographic aptitude when he took his first pictures as a tourist in the USSR in 1958. By 1960 he was earning his living through commercial work, including portraiture and fashion photography. In 1964, weary of the demands of photographing people, Michals responded to Eugène Atget’s pictures of depopulated Paris with his own views of empty New York shop interiors, which seemed to him like stage sets waiting to be animated. In 1966 he began to produce sequences depicting enigmatic encounters in a static setting as if in the frames of a film (pubd in Sequences , New York, 1970). These were inspired by the erotically charged domestic dramas painted by Balthus, whose canvas The Street (1933; New York, MOMA) served as the model for Michals’s first staged photograph. In order to accommodate the increasing elaboration of his narratives and often metaphysical themes, Michals began to write on the surfaces of such photographs as Private Acts.