*ooof*: Nos(e)talgic Armitage

Writing this post feels a bit like waiting for Father Christmas. I am amusing myself with this instalment of the weekly *ooof* while waiting for the big fan event that has been touted all over the internet. Well, within our fandom’s little corner of the internet. I am waiting for Father Armitage. Or in the absence of any offspring, for Uncle Thorin? I like the “organic”, topical approach to blogging, that is the referencing of up-to-date material and topics. And therefore, for the second time in a row, I have chosen an image of Richard Armitage as Thorin Oakenshield for the *ooof*. I know you will forgive me, because this is really hot:

Richard Armitage as Thorin Oakenshield
in a Movie Poster for The Hobbit: The Desolation of Smaug

Let us disregard the fact that this beautiful image is marred by a logo and marketing slogans, at least we have the main focus of the image clear of lettering and can study drool over Thorin’s Armitage’s impressive profile without distraction. Here we have the majestic king of the dwarves in a wonderfully dynamic pose. The half-length portrait shows Thorin’s torso straight on, but his head has been turned to his left, giving us a (near) profile. (Do I actually spot the Adam’s apple there, in the half shadow underneath the bearded chin? Mhhh, I feel tempted to start a AdamsAppletage tumblr just for that…) Thorin’s strong shoulders and heavy build are emphasised by the bulky fur collar of his coat. His decoratively armoured top is clearly visible underneath the collar, marking him as a warrior, prepared for battle, as is the beautiful buckle he is wearing across his chest. Once again we have some inspired hair porn acting going on, with the long strands of his hair floating back and his wavy tresses catching the light.

Faced Thorin with an intense gaze on his face and his mouth half-open, we are given the impression that he is on the cusp of springing into action: His stare is facing off-camera, and he is catching a last breath before he will pounce. The pose is interesting as it is simultaneously static as well as dynamic: Thorin has his right shoulder up and his left shoulder down while his head is actually held up (noticeable by the elongated neck). This gives the impression that Thorin is moving forward despite actually depicting a sideways lean. The effect is that of the subject swaying, moving, leaning in – like a heavy object that is just about to move. Imagine a steam engine – slow to get into motion, but once it has been turned loose, it will surge forward and be impossible to stop. An iron horse – an iron giant. Surely a simile that Thorin would very much approve of, and reminiscent of the bison that Armitage took inspiration from when he conceived both Thorin’s look as well as some of his psychological characteristics.

What truly excites me about this image, however, is not Richard Armitage *gasps* oh blasphemy!!! but the evocative lighting in it. It is a wonderful example of how lighting can be used to dramatic effect in photography. The light that is being used here is sidelighting, basically at a 90 degree angle. If Thorin hadn’t turned his face to the left, the light would catch only one side of his face, leaving the other half in darkness. As it is, his face is completely illuminated by the light. Very cleverly, however, the light from the side catches the intricate detail of the armoured shirt and the luxurious texture of the fur. I think this is the most detailed I have seen the armour so far, no thanks to the widely hailed 48fps frame rate but thanks to the photographer of this image.

Sidelighting like this, when used on a distinct rough and textured surface, adds a pronounced 3D feeling to an image: The light catches on the details of the surface while leaving shadow in the ridges. The three-dimensional plates of the armour gain depth and weight – adding to the characterisation of Thorin as a warrior. Similarly, the lighting points out the texture of the hair of Thorin’s beard, eyebrows and locks – an important characteristic as it enhances Thorin’s masculinity. The strong, undiffused light leads our eyes to the parts of the image that are illuminated the brightest – these are, by definition, those parts that are a) closest to the light and b) the most reflective (or lightest in colour).

Of course it is no coincidence that it should be Thorin’s face and fur-covered shoulders that draw our gaze – these are the parts of the image that give us a clue as to the intentions and characteristics of the subject: Thorin’s intention is to react or attack fiercely, and his character is that of a single-minded, armoured and well-heeled/-padded warrior. The lighting here evokes a feeling of tension and uncertainty: not all parts of the image are illuminated. As the viewer we do not get the full picture, so to speak. Part of the action, the scene and even Thorin’s personality are hidden from us. Readers of the book know that Thorin is a conflicted, dichotomous character. As a prince and potential king he is a figure of light, majestic, handsome, powerful, wise, full of initiative, courage and valour. However, there are less heroic characteristics lurking in the shadows – a disposition to be greedy, obsessive pursuing of a goal, a cantankerous, arrogant, stubborn personality, an inclination to rely on prejudice. The use of strong light and shadow subtly supports that interpretation – where there is light, there is shadow. Where there is a hero, there is a villain.

What initially struck me about the whole poster design, however, was the tonality. The image has been post-produced in such a way that it has a Sepia tone to it. You probably have heard the term Sepia before. It is generally understood as a brownish tone on a monochrome image. We often associate it with faded, old photographs – but in fact Sepia originated as a process for *prolonging* the longevity of prints rather than diminish their durability: The name comes from a sea creature – Sepia Officialis – whose secretions were used from the 1880s onwards as a method of preserving photographs. The images have the “faded” look right from the beginning – intentionally so, although they are actually more durable than b/w prints. No fishy smells have been recorded, btw. This is a process that is happening when the image is being printed, i.e. it affects the positive print, not the negative original of an image. The pigment derived from the Cuttlefish is added to the chemicals used for positive printing and overlays the image with the brown tone. (The original process was later redeveloped with chemicals that change the actual silver molecules contained in the photographic emulsion into a silver compound and thus affect the tonality. I spare you the chemistry lecture…)

As the image originates on digital, the Sepia toning is “artificial”. Nowadays we do not need to handle poisonous substances in well-ventilated darkrooms anymore, and we can play with the tonality just like the graphic designer has done here. Because the image is not entirely monochrome. Particularly Thorin’s face looks untoned to me; the skin shows the natural hues while the rest of the image has been toned Sepia. This is consistent with the other six versions of the movie posters which you can see on the official Facebook page of The Hobbit.  The use of Sepia is not a whim. Sepia bring warm tones to b/w image. It therefore adds a warmer feel to the image and its contents. It is widely associated with nostalgia, and in this instance, the use of a Sepia tone undoubtedly is meant to evoke a classic, old-fashioned feel. As such, we are being manipulated to understand the image as an old photograph, a look into the past, reminiscent of old times – Middle Earth times? There is a feeling of genuineness associated with Sepia photography that digital photography – because of its fleeting, non-tangible nature – usually lacks. While noone is trying to make us believe, that this is actually an old heirloom straight from Middle Earth, there is however a feeling intended in such an image. Even though photography has always been more widely accessible and affordable than portraiture painting, old originals are few and far between, they are precious and rare. Associations of an old photograph, coveted, saved over time, held in respect and awe come with such an image, and the denotations connected with it extend to the 21^st century movie poster we are faced with.

Clever. But actually not driven quite to the max. While the image may imitate the Sepia tone genuinely enough, the image composition, the chosen pose and the Photoshop-created background are much too typical  for 21^st century photography than to convince the bright and brainy viewer that it is old and genuine. Just google “antique Sepia portraits” and take a look at old photographs: The portraits are mostly dead-pan, the sitters look at the camera, they depict a static pose, not a movement, and they have neutral backgrounds. This is a modern imitation of an old process – done for effect, not for a genuine copy of the style. (Interestingly, however, a comparison with the other version of the DOS posters shows that Thorin is the only major character who has been shot in profile. Coincidence? An hommage to the impressive Armitage beak? Or a deliberate off-camera gaze in which Thorin avoids the gaze of the viewer and focuses on an enemy instead? Also, note how all other characters are depicted with their weapon noooo, not *that* weapon!!!, even the harmless little hobbit! Coincidence? Or a subtle hint of what is to come?). We will find out more when the film shows in the cinema in December 2013.

Disclaimer: What follows is a re-imagining of The Hobbit’s conclusion. I apologize to all Tolkien purists (that includes you, Mr Armitage) and assure you that no disrespect is intended.

“Majesty, the portraitist is here.” Thorin hardly lifted his head and sniffed derisively. Another half-baked idea by his advisors. To have his likeness taken – for posterity. As befits a king. To be forever present in the annals of history. He had written history himself – with actions, not pretty pictures. He was damned if he was going to be pictured placidly on his throne, like an old granny spinning her wool. “Tell him he has ten minutes to sketch me. No more than that.” He waved his hand in a gesture of dismission and turned back to the balcony from where he was surveying the entrance to Erebor.

Scuffling noises were heard behind him. A small cough announced the arrival of the portraitist. Thorin drew himself up to his most impressive height and turned around. His gaze landed in empty space. His eyes flickered down. A small figure stood before him, clad in a gown, clutching a small box and a stool. A woman. “Who are you? What do you want?” he grumbled. “Advisor – why is this woman here?” “That, my prince, is the portraitist.” “A woman???” The woman straightened her spine. “Forgive me, my Lord, but I have been chosen by your advisor to take your likeness for I am the fastest portraitist in Erebor.” Thorin’s eyes narrowed down to slits, not unlike those of the hated dragon-pest he had most recently killed – and for the glory of which he was now going to be immortalised in pencil and hide. “You have ten minutes, woman. Be quick. I do not entertain self-indulgence for myself and dilettantism in others.” He stood with his arms crossed over his chest, his legs steadfastly spread wider than his shoulders.

The woman nodded. “Just stay as you are, my Lord.” She started opening her little box. “What has she got there?” “This is my invention, my Lord. This box will capture your likeness. I will point it at you and it will do all the work in a mere second.” The king had trouble keeping his eyebrows under control. They were threatening to go up under his widow’s peaks. “All the better”, he growled extra rumbly, trying to mask the curiosity which was taking hold of his thoughts. “May I place you over there, closer to the window, my Lord, for the light to catch your magnificent countenance ?” Thorin shuffled closer to the window while the woman placed the stool on the ground and stepped up on it.

“Wait, how much of myself will be captured in your box?” “I was going to take a likeness of your kingly visage only.” Thorin thought for a split second. “Can you catch more than that in your magic box?” “Indeed I can, my prince.” “I would really like for my magnificent tresses to be part of the portrait”, Thorin decreed with a flick of said locks. “As you wish, my Lord.” He tossed his tresses over his shoulders, pulling a few strands back forward over his chest. “How is this?” “Splendid, my Lord.” The portraitist brought her box up in front of her face. “Wait!” Thorin bellowed. “Is my armour in the portrait?” “It is not very well seen, my Lord, the shadow obscures it.” “I want my dress armour in this portrait”, Thorin demanded. The woman sighed softly and stepped off her stool. “Of course, your majesty. Just turn to the side and let the light from the window catch your armour.”

While Thorin turned sideways, the woman moved the stool and stepped up again. “I am ready to capture your likeness now.” Thorin held his chin high and put as much princely determination and kingly power into his gaze as he could muster. “Hold on”, he interrupted her suddenly, with a wave of his hand. “The Durin Proboscis must be in the shot!” he demanded. “Just turn your head towards the light, if you please”, the portraitist suggested, “a profile will depict your majestic frontispiece most advantageously.” Thorin shifted his head towards the window. “Does my nose look big in this?” “Most magnificently, my Lord. I am ready.” “Then capture me” he ordered. The portraitist brought the box up to her face and turned a lever. “It is done, my Lord.” “Good”, he rumbled, and without another word he leaned forward and moved out of her sights onto the balcony, leaving the portraitist on her stool.

PS: Please forgive me if I am not as quick on the reply today. No, I am not suffering an overdose from the live viewing of the Fan Event last night, but I am actually working off-site all day. Go ahead and comment to your hearts’ content, though!

All text © Guylty at me + richard armitage, 2013. Please credit when using excerpts and links. Images and video copyrights accrue to their owners.

~ by Guylty on November 5, 2013.