Friday, 30 March 2012

How to make contact sheets on windows (photoshopless)

Easter Holidays

You should already be up to Stage 6 on ART2 checklist

-At least 2 different photoshoots completed with reflection (follow guidance) and targets for the next shoot.
-Remember to have your next shoot putting right your mistakes. Make it obvious you have done that via your comments.
Title-Contact sheets-6 best images complemented and criticised under conventions given in guidance- targets for next

Final Piece
Pick your final images, write up a final concept description (like on lens culture)
Prepare materials for exam- Presentation (book, materials, files, music, software practice)

The top grade sketchbooks will include research of presentation for final piece. Exemplar materials will be analysed and understood to help inspire your own final presentation.

Wednesday, 28 March 2012

Birmingham Business after dark

Whilst waiting for my train at snow hill station I wondered the streets around the business district in Birmingham. What struck me was firstly the amount of artificial light burning around the hour of midnight and also the amount of dedicate or pressured workers still in the office at this hour.

Friday, 23 March 2012

ART2 Checklist

1.Title Page
2.Brainstorm/Moodboard x 3
3.What are my intentions?
4.Research- Photographer 1
5.Research Photographer 2
6.Test/Location shots and reflection
7.Photoshoot and reflection and targets x 2/3/4
8. Presenting your final piece via a book or a online portfolio
9. Include an artist statement within the method of presentation (concept description)

Wednesday, 21 March 2012

The Photographers Gallery, Soho, London

Possible Trip Location- re-opening May 19th

Founded in 1971, the Photographers’ Gallery was the first independent collection in the UK devoted specifically to the exhibition of photography and its expansion into a second venue at Great Newport Street is testament to its popularity and success, with over five million visitors in 2005.

Following the growing trend of galleries being more than simply a stage for the showcase of art, the Photographers’ Gallery not only develops emerging talent, it can also be credited for “encouraging the inclusion of photography in the programme of leading galleries and museums,” the absence of which would seem mind boggling these days. It has justifiably established a reputation as the first port of call for anyone interested in contemporary photography.

Sunday, 18 March 2012

How to create a contact sheet

1. Get a file on the desktop with all the images you want to have on your contact sheet.

2. Open Photoshop

3. Click,  File-Automate-Contact Sheet

4. A new window will appear

5. In the top box (source images) click Choose and then select your image folder from the desktop

6. In the second box of the window ensure your units is in cm's and Width is 27 and height 19, this for a landscape piece of A4. If you want portrait just reverse these to Width 19 and height 27.

7. Change the resolution to 96 pixels/cm

8. Ensure- Flattern All Layers button is ticked

9. In the Thumbnails box ensure columns is 5 and rows are 6

10. Lastly change the font size in the last box to 10pt

11. Finally click OK and photoshop does all the work for you.

How to reflecting on a photoshoot

REF1.Firstly title the page, and include a contact sheet of the shoot. Tick your favorite images.

REF2.Secondly give a general paragraph reflecting and explaining how the shoot went. Are you overall quite happy with it? Where was the shoot? Who did you work with? Have any new ideas/directions occurred as a result? Did you have any major problems? For example the lighting was not what you were expecting.

REF3.Print the images you have ticked, around 3 per page. Then go through the shots and compliment what has really worked and criticize the improvements. Use these categories to help you;

Visibility of concept, Composition, Camera tech, Genre, Lighting, Vantage point, Framing, Shot types.

REF4. Conclusion. What are you going to do next shoot? What do you need to put right to help complete this body of work? What are your targets for the next shoot.

Friday, 16 March 2012

Students work, Karley Kahn- I dont have a problem

Here Karley's staged narrative images discusses the issue of addiction and denial.

Thursday, 15 March 2012

One world portrait by Jock McDonald

San Francisco-based photographer Jock McDonald has traveled the world making photographs, including hundreds of classic black-and-white portraits of people of all ages and all cultures. He teamed up with animating genius Paul Blain to create this amazing video that slowly and seamlessly morphs one face into another into another. Decades of images create an ever-evolving portrait of humanity. Watch the full-screen version if you can.

One World Portrait © Jock McDonald from Jim Casper on Vimeo.

Wednesday, 14 March 2012

Students work, Jade Whale Whitmore on Branding

Here Jades work discusses if we as consumers are buying products or brands. What is the difference between Evian, Buxtan or Tesco value water? Do we look into the ingredients, the creation process or do we just look at the label, at the brand and buy into something that connotes a message we enjoy and increases our sense of self.

Jake Lovric discusses the similarities of Livingston and Richards work.

Emma Livingston- Urban Trees, Eugene Richards- Cocaine True, Cocaine blue.

Emma Livingston’s concept of urban trees is expressing and discussing how an environment restricts and manipulates the growth of trees. For example if a tree is growing in a urban environment then surely the tree will not grow to be as prosperous as a rural and natural one. With this in mind, Livingston’s work is not about trees. This is a metaphor for human life. It highlights how we as humans can be restricted and trapped by the environment we grow in. It discusses the issue that no one is born “bad” or good they are shaped by the society they are brought up in.

This could link to the documentary project cocaine true cocaine blue by Ugine Richards. Richards takes photos of the under class in Brooklyn. He shows them taking drugs, committing crime and most of all living in poverty. It is highly unlikely a child growing up in that environment of drug takers and poverty will become someone with a well paid job and highly educated, in comparison to a middle class child living in suburbia. This is like the trees, grown in a restricted area they cannot grow to there full potential and a length of a normal tree, because they are in this restricting environment.

Monday, 12 March 2012

Ballet 360 by Ryan Enn Hughs

Here is a great portrayal of movement via photography. Firstly it investigates movement via the subject matter and reflects this via the technique. We move with the dancer.

The 360 Project is a blending of photography, motion pictures, ballerinas and krump dancers by Ryan Enn Hughs. Using 48 cameras (Nikon D700) set up in a circle, the dancers were told to perform in the middle and photographed in 360 degrees

Friday, 9 March 2012

Simon Roberts, work on British and Russian culture

Simon Roberts: Lens Culture Conversations with Photographers from Jim Casper on Vimeo.

Guardian photo club- Photographing reflections

We start with 'IKEA meets Vasarely' which uses the reflection of an Ikea lamp against glass to take the subjects out of context. This is seen again in '2', although the angle seems awkward. '3' shows the spire of the iconic St Pauls church in London dissected by a window of a bus, it works well. The glass dulls the colours and the composition is stunning. In '4' the use of text is distracting, perhaps you could've blurred this a bit more by using a shorter depth of field. The last two, photographed in black and white, show more buildings with reflections in the glass. '5' is more successful than '6', but this portfolio seems to lack a general theme linking the images together - and using black and white together with colour hasn't helped this. Each of the images in the set need to be as strong in composition as '3'

Lee Friedlander- Self Portraits (inside, outside)

The series of vintage photographs taken by Friedlander in the 1960s and published in Self Portrait is widely considered to be his best work. The artist appears in the composition of all these photographs. In some he is seen reflected in mirrors and windows, while in others his shadow is projected, for example, onto the back of a woman in the street or truncated on a chair in a shop window where it joins the reflection of his feet. In others Friedlander angles the camera to include his feet or turns it back on himself from arm's length. Friedlander is pushing the boundaries of self portraits and the street genre.

Friedlander once called his subject "the American social landscape", a place that, in his pictures, comes across as both everyday and oddly chaotic. Sometimes, as with the series in which his own reflection is caught in shop windows, or his shadow on pavements and walls, he seemed to be playing with, or sending up, the conventions of "good photography". Likewise, when he employs strange angles or shoots through windscreens or uses car mirrors to frame a photograph within a photograph, all of which can disorientate the viewer.
At other times, when he turned his attention to, say, public monuments and statues, he captured a makeshift America that was so ordinary as to be drab. There is humour aplenty in his photographs, but it is knowing, at times almost cynical. One of his most famous photographs is of his own shadow falling on the back of a blonde woman in a fur coat, an image that says much about the often predatory nature of street photography. It is, I guess, a self-portrait of a kind, albeit a metaphorical one.
The interesting aspect of looking back at his work in todays cultural environment is it is all about the self. Even when documenting locations or monuments the self is always in consideration. This reflects the demise of community and togetherness and the selfish motives of modern day life.

Thursday, 1 March 2012

How to conduct a photographic technique analysis?

How to conduct a photographic technique analysis

Identify and justify.

Do not simply say, “This image has used a quick shutter speed or this image has a narrow F-stop” That is simply identifying. After you have identified you must must must justify.  So Secondly describe what clues there are in the image that would explain why you have suggested what you have done and thirdly say why have the photographers done it.

Shutter speed, Aperture, I.S.O, White Balance

How to identify and do this would be, for example, your subject is moving yet there is no blur. This means a quick shutter speed has to have been used by the photographer. So a result of this is if there is a quick shutter speed not much light has got into the camera, so the aperture hole must be wide (f/5) or the I.S.O high and sensitive(1600+). So we now must decide which way the light has been capture by the camera. Think what is the depth of field? Is it all in focus? Or is one part in focus? That gives you the aperture setting. So for example, if everything is in focus the aperture opening will be narrow, f/22. So the light hasn’t been captured via the aperture opening. So it must be the I.S.O.  A clue to back this up would be grain and noise on the image. If you can find clues in the image to discover the aperture or shutter speed, everything else will follow suit. There will always be a clue. Do not forget to write why it is important. Discuss the interactions

Vantage point/ Shot type

Vantage point, what level/height and angle is the photographer standing and pointing their camera. How could this influence an audience’s impression of the subject?


Is the lighting natural or staged? What effect does this have upon the work? Could it influence the audience or simply help highlight the concept and show the photographers intentions?

Post Production
Is there anything within the image you believe has been created after the image was taken? Any photoshop techniques? Filters? How does this help the photographers intentions/concept come across.

What will you now be influence by and draw upon when creating your own work?

So you have now looked at and analysed in a detail fashion a photographer/artists work who have a similar concept to your own. Write what you will take from their work. It maybe you have realized a camera tech tip. It may be important to use a quick shutter speed on a certain location, explain why? It may be an idea of how to turn your ideas in to visuals. It could be the use of a metaphor.  Ensure you cover camera tech, lighting and concept influence. 

A2 how to Research for ART2

A2 Research checklist

The whole point of conducting this research is so it enriches your own work. It should give you ideas for your concept and how to visualise a concept for example how to turn ideas into images. It should give you ideas in camera tech and postproduction editing. Try and pick artists with plenty of writing and information on them.

Specialist Research

Pick 2 major influences for your project.

At least a double page spread on each influence. It might be two double page spreads on each artist?

How to complete the research task

1)Artist Name- Body of work title, top of the page.

2)What is the concept sub heading. What is the goal of the body of work? Why has it been made? (Think how did we answer this for Nadav Kander? How much detail did we discus, was his work about a river? Is Emma Livingston’s works about trees?)

3)Point out and describe how this concept is visible in one or 2 cleverly selected images. Describe everything in the image and link this to the aim of the work. What is the photographer trying to do? How does that specific image to this? (Use arrows)

4) Photographic technique analysis; Discuss the medium/camera tech/post production techniques. This could be written around one images in the middle of the page, with lots of arrows and small sections of text.

5) Write what specific aspects of the work you are influenced by and what are you are now going to try and put into your own work. It may be a visual technique, a certain vantage point, lighting, use of shutter speed or concept visualisation.