For my final shoot I experimented with lots of different ideas and compositions to attempt to reference pre-Raphaelite paintings I’d seen, because of this I took over 300 photographs on my DSLR and created some contact sheets in order to choose my favourite photos.
For my shoot I purposely picked a subject who didn’t have red hair as to add my own style to my photos rather than directly trying to copy paintings of people like Elizabeth Siddal. I really wanted to make the most of using autumnal foliage with my subject so ventured around my local area like Tom Hunter to find interesting plants and landscapes to have my subject interact with.
I had saved images of the paintings on my phone to help communicate with my subject, to get exactly what I wanted from her, in particular with her gaze and head position in the photographs, which for me were very important in getting my subject to represent this metaphor of the tragic heroine. I took the photos on a low aperture in order to keep my subject more in focus, as in the paintings I have looked at the backgrounds often have less detail in them and are quite dark, drawing more focus to the brighter and more detailed subject. In comparison to my Hellen Van Meene inspired shoot I was a lot more aware of the position and expression of my subject and how to make the most out of the natural light. I also used a clear UV filter on my lens to take away harsh highlights created by the sunlight to create more of these mid tones that are very dominant in pre-Raphaelite paintings.