『How to improve your photographs by looking at Old Master paintings』のカバーアート

How to improve your photographs by looking at Old Master paintings

How to improve your photographs by looking at Old Master paintings

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 Want to know how a trip to an art gallery could take your photographs from good to great? In this episode Cambridge Jones and Hugo Burnand talk about visiting art galleries to look at historic paintings for inspiration, taking tips from Old Master portraits on lighting and composition to use in their photographs. According to Hugo, a photographer should practise looking at great paintings from centuries past like a footballer practises keepy-uppies. Find out how Hugo’s Coronation portrait of the new King Charles with Prince William and Prince George, the line of succession, borrowed tips from a seventeenth century portrait of King Charles II by John Michael Wright. Hugo’s portrait of Mike Rutherford of Genesis was inspired by Holbein-the Younger’s iconic 1537 portrait of King Henry VIII, particularly his depiction of the king’s hands. ‘A good portrait nearly always has hands in it. Having a hand in it brings it so much more to life.’ For Cambridge, the influence of art history has been more subconscious but his portrait of Jefferson Hack, founder of ‘Dazed and Confused’ magazine, has an uncanny resemblance to ‘The Death of Chatterton’ an oil painting from 1856 by Henry Wallis. Cambridge’s portrait of record producer Mark Ronson clearly takes inspiration from ‘A Dandy in Rome’, an early nineteenth century portrait of a young man on the Grand Tour. Follow Double Exposure on Instagram @hugoandjones to see the photographs featured in each episode – plus, want answers to your own photography questions? Send them to Cambridge and Hugo via Instagram or email at double.exposureATraconteur.tv Series producer: Victoria Shepherd Executive producer: Eve Streeter Managing editor: William Miller Music by Eclectic Sounds A Raconteur Studios production Learn more about your ad choices. Visit podcastchoices.com/adchoices
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