21 May 2017 – On an impromptu roadtrip to Canberra, we stopped on the way at the beautiful Woolongong and cheekily made our way down to the off–limits–due–to–storm–damaged–cliffs for some exploring/yoga/photography.
As the tide came up the waves started to crash against the rocks, creating some amazing opportunities for photos. My lovely housemate Sjusanna wanted some shots of her meditating on the cliff with the sea spray behind her, and we got some rippers.
Then this happened, and I have not been able to look at the shots yet without almost peeing my pants in laughter.
Not so zen now, hey Sjuzie Q?! Hahahaaaohhahahahahaaa ….uh oh
Sadly I missed the lesson in the studio for portraiture, but here are some examples both past and present, of portraits I have shot. (See captions for details)
Little Audrey’s first Easter. _ Diffused natural light and a good relationship with the subject was key to this portrait
Melanie Eden feels awkward being the subject of photography so the trick here was to make it quick and keep her laughing. –Natural light from a window and home made reflector
Nathan was a surprisingly good model whose soul opened up through the depths of his gaze. – Studio lighting
Winnie and Maria were easy candidates for this shot, taken in natural light, I used Photoshop to darken and give a dramatic feel to the background so that the colour and joy of the subjects was contrasted and highlighted in the foreground
My Dad and his mate shot in diffused natural light, – never underestimate the power of a few beers to loosen your subject up!
Bo – my favourite foster dog in natural light on a cloudy day. This one was pure lucky timing.
Malee on Henley Beach in Adelaide, shows that sometimes the light does not have to be on your subjects features to make a great portrait. Sparkle effects (obviously) added in photoshop.
The late afternoon sun over the ocean helped to light up this little one’s happy face
Taken indoors under LED lights and edited later in photoshop, a wide aperture and shallow depth of field bring out little Binky’s adorable face
Another surprising model, Danny’s eyes shine in the strategically placed studio light
Photoshopped to bring out the baby blue in Danny’s eyes and balloon
The candid portrait always wins
Negative space and a monochromatic colour palette help to highlight the beautiful mood of Melanie as she sings
The girls of Sadhana at Bondi show of their wares as a gust of wind blows. Again, this candid shot was preferred over the posed set shots we took at the same time
Sometimes you just luck out. The one random shot I took of Paul chatting at the bar turned out to be a fascinating portrait that captured his purposeful nature
An example of beauty retouching using photoshop:
Here is a portrait I recently took of Teya which I have retouched for the purpose of example here. The first is the original unedited photograph, the second with all freckles and blemishes absent, the third, keeping her looking like her natural self with freckles intact, but skin smoothed, eyes and teeth brightened and lips plumped. These effects were achieved using a variety of techniques including the clone tool, dodge and burn, layer blends, the paintbrush/eyedropper tools and gaussian blur.
Full retouching – leaving her a bit bland for my liking
Giving her back some of her natural character and keeping it looking natural
A visual or photographic narrative tells a story through a series of images. The series can be either linear or non linear.
On a public bus in Jerusalem, two Orthodox Jewish Israelis ignore a window damaged by stone throwing Palestinians.
In the wake of a riot on the Temple Mount in Jerusalem, Israeli soldiers watch with extra scrutiny as Palestinians leave the weekly Moslem prayers.
David H. Wells is a free-lance documentary photographer based in Providence, Rhode Island, affiliated with Aurora Photos. He specializes in intercultural communications and the use of light and shadow to enhance visual narratives.
David H. Wells is a free-lance documentary photographer based in Providence, Rhode Island, affiliated with Aurora Photos. He specializes in intercultural communications and the use of light and shadow to enhance visual narratives. He is an award-winning, digitally capable editorial, commercial and location photographer producing imagery for clients in New England as well as nationally and internationally. Past assignments have been for Life Magazine, National Geographic, the New York Times Sunday Magazine and the Philadelphia Inquirer Sunday Magazine, to name a few. His photo-essays produced for publication and exhibition, have focused on globalization in India and Bangladesh, the pesticide poisoning of farm workers in California, the lives of South Asian immigrants in America, the challenges facing fishermen in New England as well as the complex relationship between Israelis and Palestinians. He has done work for numerous corporations including Consolidated Natural Gas and DuPont. He has also worked for a number of non-profit organizations including Brown University, the Ford Foundation and the New Israel Fund, among others. He is a member of the American Society of Media Photographers (ASMP,) Creative Eye and the National Press Photographer’s Association. All photographs are copyrighted by David H. Wells. You are bound by established United States and international copyright law. All photographs are the exclusive intellectual property of David H. Wells . No images are within the Public Domain and the use of any image without written permission of David H. Wells is a violation of copyright which is subject to prosecution for Copyright Infringement, potentially resulting in a fine of up to US$150,000.
An Orthodox Jew in the midst of prayers eyes a group of Palestinian women as the Moslems leave the Cave of Makpela, the site revered by both Moslems and Jews as the burial place of their mutual patriarch, Abraham.
At an entrance to the old city of Jerusalem, a Palestinian and an Israeli sit together and talk.
During an organized encounter between Palestinian and Israeli children in the town of Ramle, Myrvat El-Atrash (Palestinian at R) works with an Israeli, Eleanor Keinan, to solve a bi-lingual puzzle.
Palestinian and Israeli shop side-by-side in a market in Beersheba.
The example above is from a non–linear photo essay by David Wells. His thoughts on the subject are very concise and a great read.
He says of the series:
“…The photos shown here are from my project: The relationship between Israelis and Palestinians. My project proposal for that project says: In 1990, before the first Madrid peace conference, I started photographing the relationship between Israelis and Palestinians. In my experience, the relationship between Palestinians and Israelis is best viewed as a spectrum. At one end of the spectrum is conflict, at the other end of the spectrum is cooperation, intentional attempts at understanding one another through dialogue groups, summer camps, etc. The middle of the spectrum is co-existence, day-to-day interactions in shared working, living, and playing spaces. Coexistence is the heart of the relationship and the part of the relationship that is most ignored in the media at large. Much of my work has been an effort to humanize (sic) both sides. My photographs of the occupation and the forced interaction between Israelis and Palestinians highlight the problems, while images of their intentional, chosen interactions show the positive possibilities. It is very telling that when I disseminate my work, in and out of the Middle East, viewers are surprised by their inability to tell Palestinian from Israeli, reminding viewers of the similarity between the two. My goal was to put a human face on the struggles for Middle East peace and to educate people both in and outside of the Middle East…” Read the whole article here.
Here is an example of a linear narrative by Duane Michals:
For my photo narrative, I have included a scene which occurred the other weekend on Good Friday, when a group of friends who are still getting used to the encroachment of kids on their lives, bore witness to a miniature scene of bullying play out before them. I was photographing willy nilly and a little bit tipsy at the time, but found it intriguing that I did not fully realise what had actually happened until later, when reviewing the shots: