When it comes to creating Personal Brand Photography, choosing the right location is essential. Your location can set the tone for the entire shoot and can help to convey your brand's message and personality.

When it comes to headshot photography, choosing the right backdrop colour can make all the difference in the final result. The backdrop you choose can impact the mood and tone of your headshot, and can even influence the way you are perceived by others.

In today's digital age, having a strong personal brand can be crucial for both individuals and businesses. Personal Brand Photography is a type of photography that is specifically designed to help individuals and businesses create a visual representation of their personal brand. In this blog post, we'll take a closer look at what Personal Brand Photography is and how it can benefit you.

When it comes to creating stunning images, it's not just the photographer who plays a role. A successful photo shoot requires collaboration between the photographer and the subject(s) being photographed. Whether you're having a portrait session, a family shoot, or a commercial photography project, working collaboratively with your photographer can make all the difference.

In today's digital age, it's more important than ever to have a strong online presence. A company's website and social media profiles are often the first places potential customers or clients will look when considering doing business with them. That's why it's crucial to have professional and polished headshots of your team members on these platforms.

If the intent of subversive imagery, especially Post-Modern art, is to challenge stereotypical representations, why are racist, misogynistic and objectifying views still prevalent in mass media commentary? Were post-modern artists just ‘preaching to the converted'?

Woodman here is depicted in a black and white self-portrait, both typical of her work. The camera is positioned above Woodman and looks down to her positioned on all fours, partially dressed and on top of a mirror, her rear quarters positioned out of the upper portion of frame, whilst her face is in the lower quarter turned up towards the camera, slightly burred in movement. Under the main image, and by hand in ink is the caption;

"See you Sunday

Bow Wow

love

Spot"

'Mrs Ova Heggi and her Mannequin, Chattanooga, Tennessee, 1974', is a black and white 15 3/8"x15 5/16" photograph which depicts a female subject within a messy room. The room appears large and depth-ful, with a myriad of discarded odds and ends, chairs, work tops and shelves each filled with stacks of indistinct objects. Behind the subject we see a corridor leading off to what seems to be an another dark room filled with detritus, at the end of walls filled with hung objects. Over the subjects right shoulder, left of frame, we see a wall clock and under the subjects feet we see a threadbare tartan style carpet. The subject herself, is centre frame, a mostly frontal 'pose' leaning over and hunched on a set of mannequin legs. The subjects hair and dress reflects the environment, disheveled, unkempt and world worn. Her leaning post, the mannequin legs, reach almost as high as her own height, they are bare of clothing showing a dainty knee bend and slim 'idealised' figure to which the fashion industry aspires.

Salvans project is a series of 5x4 photographs, made over eight years, of sex workers waiting besides Catalan roads.

The images are made with a wide angle view which isolates and minimises the subject within their environment. Salvans describes the approach as focusing on “the context of prostitution and not on the women”. Despite this approach his claim of aiming to “protect their privacy” fails as they are clearly identifiable.

I feel it’s quite telling that Badger decided to close this book with the same quote I selected to open my first essay with back in Context and narrative, “The illiterate of the future will be the man who does not understand photography” - Mohaly-Nagy.

Cecile Bishop raises the question of representation in photography through the events of August 1944 and the allied liberation of Paris following Nazi population during World War Two.

Oliver Richon's essay on Walker Evans' 'Carey Ross's Bedroom, is less of a read of a photograph and more of a read of the photographer.

Exposure, an exhibition commissioned and curated by Deutsche Guggenheim, a collaboration between The Solomon R. Guggenheim Foundation and Deutsche Bank AG, for presentation Nov 3rd 2007 through Jan 20 2008.

Writing a short essay on a book about Poststructuralism seems quite ironic as one of the opening chapters focuses on the use of technical language to declare one’s proficiency in a subject matter, thereby confirming the legitimacy of the educational systems control over the structure of knowledge and who is recognised as qualified in that field

On Friday the 21st of May, Bristol Photography Festival held a full day symposium discussing the issues of diversity and inclusion in Photography. This symposium was a collection of talks with and by photographers who are recognised as being from under-represented cultures and communities.