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Controlled Conditions

ANTHROPOCENE

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PHOTOGRAPHY CONTROLLED CONDITIONS 
MON 24TH – THURS 27TH MAY 2021 

Groups 12B + 12E Periods 1-5 Mon 24th May and Tues 25th May

Groups 12C + 12D Periods 1-5 Wed 26th and Thurs 27th May

  1. Select, edit and arrange final images
  2. Complete all relevant and supporting blog posts
  3. Add final images to print folder
  4. Frame up / mount all available prints
  5. Review blog and make improvements

“ANTHROPOCENE”

We have included a mini-unit to help you explore further opportunities within photography. We will spend time looking closely at this and discussing ideas with you…

Remember…your stimulus for the Controlled Conditions is…

ANTHROPOCENE

  • What is Anthropocene?
  • How and why should we tackle this topic through photography?
  • Use your skills and knowledge to date to tackle and approach this theme. ie: abstract, portraiture, identity, landscape, studio based photography etc. – YOU DECIDE!

DISCUSS

Now watch this and discuss the way in which photographers have responded to this theme…

Blog Posts to make :

  1. Define “Anthropocene” and explain what it is.

2. Add a mindmap and moodboard of images, ideas and trigger points on your chosen genre ie: portraiture, studio (object or portraiture), abstract, landscape etc.

3. Choose two photographers that you feel explore Anthropocene through your chosen genre of photography that interest you and create a CASE STUDY on both and then compare them using a writing structure to help you. https://hautlieucreative.co.uk/photo22al/2020/08/21/the-formal-elements/

(These photographers will directly influence your final outcomes re : MOCK EXAM)

4. Organise and carry out your photo-shoots !!! You MUST complete a minimum of 2 PHOTO-SHOOTS (100-200 photos) in readiness for the mock exam itself. Responding to the theme of Anthropocene in your chosen genre.

5. Edit, select and develop your photographs and post contact sheets.

6. Produce a comparative analysis between one of your photographs and an image of one of your chosen photographers – discuss similarities and differences.

This image has an empty alt attribute; its file name is image-14.png

7. Develop your ideas through your images by editing, making decisions, reviewing and refining – selecting your collection of images or image as your final response to Anthropocene.

8. Ensure your write an evaluation that comments on your original intentions (what you set out to do) and how your realised those intentions. Is your outcome successful? Comment on strengths and successes.

LANDSCAPE – urban / industrial

You could be clever and think about creating landscapes that relates to your commentary, see Vilde Rolfsen’s work on Plastic Bag Landscapes.

And Yao Lau, who creates contaminated landscapes using landfill sites and mounds of derelict rubble.

Some suggestions for you to look at…

  1. Edward Burtynsky…nature transformed through industry
  2. George Marazakis…humanity’s effect on Earth
  3. Sebastiao Salgado…documentary photographer and photojournalist, respect for nature while also sensitive to the socio-economic conditions that impact human being
  4. J. Henry Fair…uses pictures to tell stories about people and things that affect people.
  5. David Maisel…radically human-altered environments.
  6. Camilo Jose Vergara…documentation of American slums and decaying urban environments.
  7. Andrew Moore…the effect of time on the natural and built landscapes.
  8.  Yves Marchand & Romain Meffre….modern ruins.
  9. Yao Lu… contaminated landscapes – created  from landfills and mounds of derelict rubble.
  10. David T. Hanson… waste land.
  11. Troy Paiva…”Urban Explorer” investigating the ruins of “Lost America”.

Obviously, you can also use past photographers we have looked at throughout the landscape unit, especially industrial and urban landscape photographers. (see below)

  • Alexander Apostol
  • Bernd & Hilla Becher
  • Donovan Wylie
  • Edward Burntsky
  • Frank Breuer
  • Gerry Johansson
  • Joel Sternfeld
  • Josef Schultz
  • Lewis Baltz
  • Charles Sheeler

OBJECT – studio lighting

You can also use your skills to produce an object based project. Looking at how objects might reflect the theme of Anthropocene. ie: single use plastics, disposable objects, waste, rubbish etc.

  • Mandy Barker

Barry Rosenthal – collection of discarded plastic objects.

Jerremy Carroll – choked by plastics in the ocean.

Naomi White – beauty in plastic bags.

Sophie Thomas – found, discarded plastics/rubbish.

Steven Gallagher – plastic bag topology photography

Mandy Baker – marine plastic debris

PORTRAITURE

You might decide to explore Anthropocene through the genre of portraiture photography. How you do this is up to you? Below are some images that may challenge the viewer! Draw them into thinking about Anthropocene and how or what has been altered by human impact on Earth.

Craig McDean – coloured plastic/fashion portraits/masks

Nick Fancher – distorted vision/image

Alexandra Bellissamo – relationship between nature and mankind.

Vika Pobeda – fashion photographer using plastics as props

Darian Mederos – distorted view

ABSTRACT

You may focus on and wish to respond through the genre of abstract photography. Look back to the photographers from your first unit or discover new ones. Below are just some images to help you to engage in the topic.

The Anthropocene defines Earth’s most recent geologic time period as being human-influenced, or anthropogenic, based on overwhelming global evidence that atmospheric, geologic, hydrologic, biospheric and other earth system processes are now altered by humans.

The word combines the root “anthropo”, meaning “human” with the root “-cene”, the standard suffix for “epoch” in geologic time.

THINK

What and where are you going to photograph and how you are going to take your images!!

Is it out and about, indoors, setting up your own lighting, collecting objects, photographing people, looking for abstract imagery etc.

Contacting Ronez quarry and gaining access to take photographs? Explore the industrial areas around La Collette – power station, recycling centre? The impact of farming on the land – plastic sheeting, poly tunnels etc, etc. Collecting washed up plastics from the beach. Asking family and friends to photograph them etc.

WHAT do you want to visually comment on?

•Plastics •Open cast mining •Urbanisation (concrete jungle) •Deforestation •Mass Wastage •Non Recycling •Disposable Society (‘throw away’) •Land Erosion •Climate change •Over population •Poverty (social divides) Rich/Poor •Climate change •Ozone layer •Natural Resources (fossil fuels – oil/coal etc) •Industrialisation – POLLUTION air, ocean, light etc.

The period during which human activity has been the dominant influence on climate and the environment.

The IMPACT humans have had on the PLANET.

Where in Jersey is it anthropogenic?

  • Open Cast Mining – Quarries: Ronez, St Peters Valley, Sand Quarry St. Ouens
  • Power Stations – La Collette, Bellozane Sewage Treatment
  • Urbanisation – St Helier: Grands Vaux, Le Marais Flats, Le Squez etc.
  • Mass Wastage – La Collette recycling centre
  • Disposable Society – La Collette recycling centre – refrigerator mountains etc
  • Land Erosion – farming industry: poly tunnels, packing sheds, plastic covered fields etc. Old Glass Houses
  • Over Population – poverty/social divides: Social Housing sites. Car Parks, traffic etc.
  • Industrialisation – La Collette area, Bellozane, industrial estates. Desalination Plant, German Fortification (WW2)

Follow the 10 Step Process and create multiple blog posts for each unit to ensure you tackle all Assessment Objectives thoroughly :

  1. Mood-board, definition and introduction (AO1)
  2. Mind-map of ideas (AO1)
  3. Artist References / Case Studies (must include image analysis) (AO1)
  4. Photo-shoot Action Plan (AO3)
  5. Multiple Photoshoots + contact sheets (AO3)
  6. Image Selection, sub selection, review and refine ideas (AO2)
  7. Image Editing/ manipulation / experimentation (AO2)
  8. Presentation of final outcomes (AO4)
  9. Compare and contrast your work to your artist reference(AO1)
  10. Evaluation and Critique (AO1+AO4)
Independent, Reading, Task

altered landscapes

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You may wish to intergrate the concept of altered landscapes into your project based on Anthropocene.

You could develop a set, sequence or group of final images.

You may choose to employ a range of creative and experimental techniques (digital and traditional) to create your new environments…

  • Creating changed, changing or altered landscapes
  • Creating altered landscapes by combining a range of images in Adobe Photoshop
  • Explore panoramic landscapes
  • Using photo montage/cut-n-paste techniques and printed matter (combine your own images with images from the internet, magazines, print-outs, newspapers etc)

You may already have a range of suitable images to start your designs…but may need to find additional images to work from:

Here are some examples to help inspire your ideas…

Tanja Deman
Image result for panoramic landscapes contemporary photography david hockney
David Hockney inspired “joiner” photographs
3-d / dioramas
Dafna Talmor’s Constructed Landscapes
Felicity Hammond
Beomsik Won
Surrealist approaches
Jesse Treece
Krista Svalbonas

Paint directly onto photographs, as in these works by Gerhard Richter:

Gerhard Richter overpainted photographs
Gerhard Richter has painted over 500 of his own photographs (with many more works discarded): commercially printed images that are overpainted with spontaneous gestural smears, using leftover oil paint applied with palette knives, squeegees or doctors’ blades. In the examples above, the thick painted lines divide the composition and inject colour into what is otherwise a rather drab interior scene. The paint disturbs the viewer – shatters the illusion that we are quietly observing a scene – pulling our attention to the tactile surface and smear of texture in front of our eyes.

Combine paint and photographs digitally, like Fabienne Rivory‘s LaBokoff project:

Fabienne Rivory photography
This project by Fabienne Rivory explores interactions between imagination and reality. Selecting photographs that represent a memory, Fabienne digitally overlays a gouache or ink painting, introducing an intense vibrant colour to the work. Students might like to experiment with this idea by creating a photocopy of a work and applying ink or watercolours directly (watery mediums will not ‘adhere’ to an ordinary photography surface).

Overlay multiple photos from slightly different angles, like these experimental photographs by Stephanie Jung:

experimental digital manipulation photography by Stephanie Jung
Stephanie Jung creates stunning urban landscapes, overlaying near-identical city scenes that have been taken from slightly different angles, at different transparencies and colour intensities. The repeated forms (buildings / vehicles / street signs) suggest echoed memories, vibrations of life; the ebb and flow of time.

Cut out shapes and insert coloured paper, as in these photographs by Micah Danges:

photography with cut coloured paper layers
These landscape photographs by contemporary photographer Micah Danges have separate photographic layers and incorporate stylised abstract elements. The simple strategy of cutting pieces out of a photograph and adding layers of different paper can be a great technique for high school photography students.

Make an photography collage using masking tape, like Iosif Kiraly:

masking tape collage
Whereas the previous photomontage montages involve precise trimming and arrangement of forms, this collage has an informal aesthetic, with visible pieces of masking tape holding it together. This can be a great method for shifting and moving pieces until the work is well balanced and cohesive. Iosif Kiraly’s work explores the relationship between perception, time and memory.

Photograph a single scene over time and join the pieces in sequence, like these composite photographs by Fong Qi Wei:

Fong Qi Wei photography
These photographs are from Fong Qi Wei’s ‘Time is a Dimension’ series, and show digital slices of photographs taken over several hours at one location. The shots above show a seaside in sunrise, with the images organised together in a way that shows the changing light conditions.

Inset scenes within other scenes, as in these photographs by Richard Koenig:

richard koenig photography
Richard Koenig hangs a print and rephotographs this in its new location, creating intriguing illusions of space within space. Perspective lines within the two images are aligned to create optical confusion, so the viewer is disconcerted and unsure about the separation of the two spaces. His work often features intimate, private moments inset within generic, impersonal, public environment.

Back to the Future

http://www.marinacaneve.com/en/portfolio/are-they-rocks-or-clouds/

Constructed Seascapes

Take a look at these photographic images (click on each image to expand):GUSTAVE LE GRAY – THE GREAT WAVE, 1857. ALBUMEN PRINT FROM COLLODION-ON-GLASS NEGATIVE.DAFNA TALMOR – FROM THE CONSTRUCTED LANDSCAPES II SERIES. C-TYPE PRINTS MADE OF COLLAGED COLOUR NEGATIVES

  • Both could be described as landscape pictures. What kinds of landscapes do they describe?
  • What similarities do you notice about these two pictures?
  • What differences do you notice?
  • What words/phrases best describe each of these landscapes?
  • In which of these landscapes would you prefer to live? 

A bit of research…

​Read the following descriptions about the making of these images:

Gustav Le Gray – The Great Wave, 1857Dafna Talmor – from Constructed Landscapes II
‘​The Great Wave’, the most dramatic of his seascapes, combines Le Gray’s technical mastery with expressive grandeur […] At the horizon, the clouds are cut off where they meet the sea. This indicates the join between two separate negatives […]Most photographers found it impossible to achieve proper exposure for both landscape and sky in a single picture. This usually meant sacrificing the sky, which was then over-exposed. Le Gray’s innovation was to print some of the seascapes from two separate negatives – one exposed for the sea, the other for the sky – on a single sheet of paper.This ongoing body of work consists of staged landscapes made of collaged and montaged colour negatives shot across different locations, merged and transformed through the act of slicing and splicing […] ‘Constructed Landscapes’ references early Pictorialist processes of combination printing as well as Modernist experiments with film […] the work also engages with contemporary discourses on manipulation, the analogue/digital divide and the effects these have on photography’s status. 

Blog Posts This Week…

  1. Research Altered Landscapes and produce a definition/explain what they are.
  2. Produce a Case Study about your chosen altered landscape photographer, include an analysis of one key image. Explain/show how this has inspired your ideas and process.
  3. Show your images, process, editing, selection, final outcomes and evaluation.

Click this link below for more resources…AS-PHOTOG-LANDSCAPE-guide-V2-JACDOWNLOAD

Remember to follow the 10 Step Process and create multiple blog posts for each unit to ensure you tackle all Assessment Objectives thoroughly :

  1. Mood-board, definition and introduction (AO1)
  2. Mind-map of ideas (AO1)
  3. Artist References / Case Studies (must include image analysis) (AO1)
  4. Photo-shoot Action Plan (AO3)
  5. Multiple Photoshoots + contact sheets (AO3)
  6. Image Selection, sub selection (AO2)
  7. Image Editing/ manipulation / experimentation (AO2)
  8. Presentation of final outcomes (AO4)
  9. Compare and contrast your work to your artist reference(AO1)
  10. Evaluation and Critique (AO1+AO4)
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CMK URBAN & INDUSTRIAL LANDSCAPES

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Over the next two weeks you will be looking at producing blog posts and responding photographically to:

  • New Topographics
  • Urban Landscapes
  • Industrial Landscapes
  • Camera Skills – vantage points

URBAN LANDSCAPES

Ed Ruscha, “Every Building On The Sunset Strip” 

The artist Ed Ruscha is famous for his paintings and prints but is also known for his series of photographic books based on typologies, among them Every Building on the Sunset Strip, Twentysix Gasoline Stations, Some Los Angeles Apartments, and Thirtyfour Parking Lots. Ruscha employs the deadpan style found in many photographic topologies. The book shown above is a 24 foot long accordion fold booklet that documents 1 1/2 miles of the Sunset Strip in Hollywood. 

Here’s another topology for you to look at by Ólafur Elíasson  : 

Thom and Beth Atkinson< Missing Buildings, 2016 
https://www.thomatkinson.com/missing-buildings

The New Topographics

New Topographics was a term coined by William Jenkins in 1975 to describe a group of American photographers (such as Robert Adams and Lewis Baltz) whose pictures had a similar banal aesthetic, in that they were formal, mostly black and white prints of the urban landscape…

The beginning of the death of “The American Dream”

LEWIS BALTZ
Many of the photographers associated with The New Topographics including Robert Adams, Lewis Baltz, Nicholas Nixon and Bernd and Hiller Becher, were inspired by the man-made…selecting subject matter that was matter-of-fact.

New Topographics inspired by the likes of Albert Renger Patszch and the notion of The New Objectivity

Parking lots, suburban housing and warehouses were all depicted with a beautiful stark austerity, almost in the way early photographers documented the natural landscape. An exhibition at the International Museum of Photography in Rochester, New York featuring these photographers also revealed the growing unease about how the natural landscape was being eroded by industrial development.

STEPHEN SHORE

The New Topographics were to have a decisive influence on later photographers including those artists who became known as the Düsseldorf School of Photography.

BLOG POST: Photoshoot / Practical Responses…

  1. Produce a list of places in Jersey you could go and shoot urban landscapes. Create a blog post as a mood board or photo shoot plan. Scrapyards, building sites, cranes, restoration yards, derelict ruins, car parks, underpass, harbours and dockyards, industrial centres, retail park, Stadiums, floodlight arenas, staircases, road systems, Circuit boards, pipework, telephone poles, towers, pylons, Shop displays, escalators, bars, libraries, theatres and cinemas, Gardens, parks, playgrounds, swimming pools, etc.
  2. Possible titles to inspire you and choose from… Dereliction / Isolation / Lonely Places / Open Spaces / Close ups / Freedom / Juxtaposition / Old and new / Erosion / Altered Landscapes / Utopia / Dystopia / Wastelands / Barren / Skyscapes / Urban Decay / Former Glories / Habitats / Social Hierarchies / Entrances and Exits / Storage / Car Parks / Looking out and Looking in / Territory / Domain / Concealed and Revealed

Look at how the New Topographics approach has inspired landscape photography and the way we document our surroundings / the way we are using and transforming the land.

You should look at photographers such as…

Image result for rut blees luxemburg
Rut Blees Luxemburg , A Modern Project, 1996

Research a selection of these photographers and respond with…

  • similar imagery from your own photo-shoots / image library
  • analytical comparisons and contrasts
  • a presentation of final images

Stephen Shore, Beverly Boulevard and La Brea Avenue, Los Angeles, California, June 21, 1975, 1975, chromogenic color print

Analysis and discussion… starting points and key features of The New Topographics

  • Foreground vs background | Dominant features
  • Composition | low horizon line | Square format
  • Perspective and detail / cluttering
  • Wide depth of field | Large Format Camera
  • Colour | impact and relevance
  • Nationalism vs mobility vs isolation
  • Social commentary | The American Dream ?
  • An appreciation of the formal elements : line, shape, form, texture, pattern, tone etc

Remember to use this

Picture

Follow this 10 Step Process and create multiple blog posts for each unit to ensure you tackle all Assessment Objectives thoroughly :

  1. Mood-board, definition and introduction (AO1)
  2. Mind-map of ideas (AO1)
  3. Artist References / Case Studies (must include image analysis) (AO1)
  4. Photo-shoot Action Plan (AO3)
  5. Multiple Photoshoots + contact sheets (AO3)
  6. Image Selection, sub selection (AO2)
  7. Image Editing/ manipulation / experimentation (AO2)
  8. Presentation of final outcomes (AO4)
  9. Compare and contrast your work to your artist reference(AO1)
  10. Evaluation and Critique (AO1+AO4)

What do I photograph?

ROADS / BUILDINGS / STREETS / ST HELIER / FLATS / CAR PARKS / OFFICE BLOCKS / PLAYING FIELDS / SCHOOL / SHOPS / SUPERMARKETS / BUILDING SITES / TRAFFIC / HOTELS

Where to shoot ?

ORDANCE YARD / ST AUBINS HIGH STREET / COBBLED BACK STREETS / OLD ST HELIER / NEW ST HELIER / FLATS / ESPLANADE / TOWN / CAR PARKS / FORT REGENT / FINANCE DISTRICT / UNDERPASS / TUNNEL / NIGHT TIME / PIER ROAD CAR PARK / HUE COURT / LE MARAIS FLATS / PLAYING FIELDS / SCHOOLS / ANN STREET BREWERY BUILDING SITE / SPRINGFIELD STDIUM
Image result for urban landscapes gurtsky
TASK ONE
  1. Research and explore The New Topographics and how photographers have responded to man’s impact on the land, and how they found a sense of beauty in the banal ugliness of functional land use… 
  2. Create a blog post that defines and explains The New Topographics and the key features and artists of the movement.
  3. ANSWER : What was the new topographics a reaction to?
TASK TWO
  1. A case study on your chosen NEW TOPOGRAPHIC landscape photographer. Choose from…ROBERT ADAMS, STEPHEN SHORE, JOE DEAL, FRANK GOLKHE, NICHOLAS NIXON, LEWIS BALTZ, THE BECHERS, HENRY WESSEL JR, JOHN SCHOTT ETC to write up a case study that will inspire your own photography.
  2. Analyse one image of this photographers work. Use the vocabulary support sheet to help. https://hautlieucreative.co.uk/photo22al/2020/08/20/photo-vocab-support/
TASK THREE
  1. Produce a list of places in Jersey you could go and shoot urban landscapes. Create a blog post of a visual mood board and photo shoot plan. Scrapyards, building sites, cranes, restoration yards, derelict ruins, car parks, underpass, harbours and dockyards, industrial centres, retail park, Stadiums, floodlight arenas, staircases, road systems, Circuit boards, pipework, telephone poles, towers, pylons, Shop displays, escalators, bars, libraries, theatres and cinemas, Gardens, parks, playgrounds, swimming pools, etc.
  2. Possible titles to inspire you and choose from… Dereliction / Isolation / Lonely Places / Open Spaces / Close ups / Freedom / Juxtaposition / Old and new / Erosion / Altered Landscapes / Utopia / Dystopia / Wastelands / Barren / Skyscapes / Urban Decay / Former Glories / Habitats / Social Hierarchies / Entrances and Exits / Storage / Car Parks / Looking out and Looking in / Territory / Domain / Concealed and Revealed
TASK FOUR
  1. First photoshoot inspired and influenced by your first chosen urban landscape photographer. (+100 photographs). Can be any urban landscape photographer, but remember to include a brief case study and examples of their work that have influenced your work.
  2. Select, consider and decide on best images (show contact sheets)
  3. Develop ideas through digital manipulation (ie: cropping, contrast, colour balance etc.)
  4. Realise a final outcome.
TASK FIVE
  1. Second photoshoot inspired and influenced by your second chosen urban landscape photographer. see list below URBAN PHOTOGRAPHERS (+100 photographs). Can be any urban landscape photographer, but remember to include a brief case study and examples of their work that have influenced your work.
    Ensure you experiment with different vantage points eg: worms eye view etc.
  2. Select, consider and decide on best images (show contact sheets)
  3. Develop ideas through digital manipulation (ie: cropping, contrast, colour balance etc.)
  4. Realise a final outcome.
TASK SIX
  1. Select one of your photographs to compare and contrast against one photograph of your chosen photographer.
  2. Create a venn diagram to illustrate the similarities and differences between the images.
  3. Using this information and prompts from the Photo Vocab Sheet write an in depth and thorough analysis. https://hautlieucreative.co.uk/photo22al/2020/08/20/photo-vocab-support/

Always ensure you have enough evidence of…

  1. moodboards (use influential images)
  2. mindmap of ideas and links
  3. case studies (artist references-show your knowledge and understanding)
  4. photo-shoot action plans / specifications (what, why, how, who, when , where)
  5. photo-shoots + contact sheets (annotated)
  6. appropriate image selection and editing techniques
  7. presentation of final ideas and personal responses
  8. analysis and evaluation of process
  9. compare and contrast to a key photographer
  10. critique / review / reflection of your outcomes

URBAN LANDSCAPE PHOTOGRAPHERS
  • Eugene Agtet
  • Ed Ruscha
  • Thomas Struth
  • Gabrielle Basilico
  • Gerry Johansson
  • W. Eugine Smith
  • Rut Blees Luxemburg
  • Panos Kokkinios
  • Naoya Hatakeyama

Eugene Agtet

Ed Ruscha

Thomas Struth

Gabrielle Basilico

Gerry Johansson

W. Eugene Smith

Rut Blees Luxemburg

Panos Kokkinios

Naoya Hatakeyama



industrial landscape photographers
  • Alexander Apostol
  • Bernd & Hilla Becher
  • Donovan Wylie
  • Edward Burntsky
  • Frank Breuer
  • Gerry Johansson
  • Joel Sternfeld
  • Josef Schultz
  • Lewis Baltz
  • Charles Sheeler

Alexander Apostol

Bernd & Hilla Becher

Donovan Wylie

Edward Burntsky

Frank Breuer

Gerry Johansson

Joel Sternfeld

Josef Schultz

Lewis Baltz

Charles Sheeler

Image result for ansel adams quotes

Technical: Shoot using different vantage points.

Why Is Vantage Point Important?

Your vantage point affects the angles, composition, and narrative of a photograph. It is an integral part of the decision-making process when taking a photograph.

We often spend more time considering camera settings and lighting, than exploring viewpoints. A picture taken from a unique vantage point makes us think about the subject in a different way. Perspectives from high or low angles add emotion to the photograph.

Eye-level vantage points provide a feeling of directness and honesty. Changing your vantage point can include or exclude part of the photo’s story.

As you look through your viewfinder, ask yourself some questions:

  • How could I add interest to the subject?
  • How can I show the viewer a new perspective on this subject?
  • Do I always stand in this position when taking photos?
  • What else can I include in the frame to tell the story? How can I make this happen?

TRY LOOKING UP, LOOKING DOWN, AT AN ANGLE, FROM A DISTANCE, A WORMS EYE VIEW ETC.

WORMS EYE VIEW

WHERE IN JERSEY ??
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USING PHOTO-ARCHIVES

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In the course of daily life, individuals and organizations create and keep information about their personal and business activities. Archivists identify and preserve these documents of lasting value.

These records — and the places they are kept — are called “archives.” Archival records take many forms, including correspondence, diaries, financial and legal documents, photographs, and moving image and sound recordings. All state governments as well as many local governments, schools, businesses, libraries, and historical societies, maintain archives.

Your task – BLOG POST

The images above are Archival Images from iconic areas of Jersey…and these areas have changed over time.

  • Find archival images that correspond to your own landscape photography and contrast and compare. Include any info you can find about the image itself / photographer / time period etc
  • OR…you may find that you are intrigued by a particular landscape image and want to respond to it and create a comparison / composite image. For this you must conduct a photo-shoot aiming to document the area from a similar viewpoint and edit your images accordingly
  • OR…you may want to explore the concept of JUXTAPOSING Old and new parts of Jersey…either by photographing them in situ, or creating a composite image using photoshop
i-combined-old-and-new-photos-of-paris-to-bring-history-to-life-5__880

Public archives in Jersey

Jersey Archives:  Since 1993 Jersey Archive has collected over 300,000 archival records and it is the island’s national repository holding archival material from public institutions as well as private businesses and individuals. To visit click here

Jersey Archive can offer guidance, information and documents that relate to all aspects of the Island’s History. It also holds the collections of the Channel Islands Family History Society.

Societe Jersiaise: Photographic archive of 80,000 images dating from the mid-1840s to the present day. 35,000 historical images in the Photographic Archive are searchable online here.

Societe Jersiaise also have an extensive library with access to may publications and records relating to the island’s history, identity and geography. Click here

Archisle: The Jersey Contemporary Photography Programme, hosted by the Société Jersiaise aims to promote contemporary photography through an ongoing programme of exhibitions, education and commissions.

The Jersey Evening Post Archives CLICK HERE

The Archisle project connects photographic archives, contemporary practice and experiences of island cultures and geographies through the development of a space for creative discourse between Jersey and international practitioners.

Link: http://www.archisle.org.je/

Reading, Resource, Task

CMK ROMANTICISM & RURAL LANDSCAPE PHOTOGRAPHY

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Introduction to Landscape Photography – 2 week project

Go to

M:\Departments\Photography\Students\Planners Y12 JAC\Unit 3 Sept-Dec Landscapes

for resource pack

We will be looking at Romanticism as a starting point and if you click here you will have a better understanding of some of the roots of landscape in contemporary photography….

The focus of your study and research this week is natural landscapes and the notion of ROMANTICISM in Landscape  Art and then later, Photography.

Working Title/Artist: Stormy Coast Scene after a Shipwreck
Department: European Paintings
Working Date: (1830)


RESEARCH

The Age of The Enlightenment (1700-1800ish)

VS

The Age of Romanticism (1800-1900ish)

“Writers and artists rejected rationalism for the same reason that rationalism was rejected by the movement as a whole- it was in rejection of Enlightenment, which had sucked emotion from writing, politics, art, etc. Writers and artists in the Romantic period favored depicting emotions such as trepidation, horror, and wild untamed nature.”

“The ideals of these two intellectual movements were very different from one another. The Enlightenment thinkers believed very strongly in rationality and science. … By contrast, the Romantics rejected the whole idea of reason and science. They felt that a scientific worldview was cold and sterile.”

JMW Turner- Hannibal Crossing The Alps 1835

Caspar David Friedrich 1832 Germany

PAINTING VS PHOTOGRAPHY

Roger Fenton inspired by nature and romanticism revisited a spot in Wales where previously Samuel Palmer had been inspired by the natural beauty of this river valley.

  • Roger Fenton c. 1852-62
  • Samuel Palmer c. 1840-45
Ansel Adams 1942 USA

Don McCullin 2000 UK

Fay Godwin 1985 UK

ANSEL ADAMS: Photography With Intention

LANDSCAPE PHOTOGRAPHERS

Joan Fontcuberta

Richard Misrach

Wynn Bullock

Luigi Ghirri

Fay Godwin

Carelton E. Watkins

Eliot Porter

Edward Weston

Minor White

Don McCullin

Ansel Adams

BLOGS

  1. An introduction to rural landscape photography, including a definition and mood-board of influential images
  2. Create an in-depth case study that analyses and interprets the work of a key landscape photographer…EG: Ansel Adams or Edward Weston or Fay Godwin or Don McCullin (or similar)

3. Create a blog post that defines and explains what Romanticism is in Landscape Photography…include examples and make reference to Romanticism in other art-forms eg painting

4. Create a mind-map / mood-board of potential locations around Jersey that you could record and create romanticized landscape photographs of….look for extremes (either calm or wild, derelict, desolate, abandoned or stormy, battered and at the mercy of nature)

AIM to photograph the coastline, the sea, the fields, the valleys, the woods, the sand dunes etc.
USE the wild and dynamic weather and elements to help create a sense of atmosphere, and evoke an emotional response within your photo assignment.
PHOTOGRAPH before dark, at sunset or during sunrise…and include rain, fog, mist, ice, wind etc in your work.
LOOK for LEADING LINES such as pathways, roads etc to help dissect your images and provide a sense of journey / discovery to them.

5. Take 150-200 photos of romanticised landscapes. Show evidence of using exposure bracketing technique. Add your edited selective contact sheets / select your best 3-5 images / include edits and screen shots to show process.

6. Produce comparative analysis between one of your images and a landscape photographer – discuss similarities and differences.

REMEMBER you MUST use TECHNICAL / VISUAL / CONTEXTUAL / CONCEPTUAL to analyse effectively.

Ensure that you include the following key terms in your blog posts…

  • Composition (rule of thirds, balance, symmetry)
  • Perspective (linear and atmospheric, vanishing points)
  • Depth (refer to aperture settings and focus points, foreground, mid-ground and back-ground)
  • Scale (refer to proportion, but also detail influenced by medium / large format cameras)
  • Light ( intensity, temperature, direction)
  • Colour (colour harmonies / warm / cold colours and their effects)
  • Shadow (strength, lack of…)
  • Texture and surface quality
  • Tonal values ( contrast created by highlights, low-lights and mid-tones)
This image has an empty alt attribute; its file name is landscape-photography_using-lines-effectively-while-shooting-landscapes.jpg
Leading Lines
Image result for rule of thirds landscape photography
Composition : The Rule of Thirds Grid
Image result for fibonacci sequence landscape photography
Composition : Fibonacci Curve / Golden ratio
https://petapixel.com/2016/09/14/20-composition-techniques-will-improve-photos/
Camera Handling Skills

EXPOSURE BRACKETING

Exposure bracketing means that you take two more pictures: one slightly under-exposed (usually by dialing in a negative exposure compensation, say -1/3EV), and the second one slightly over-exposed (usually by dialing in a positive exposure compensation, say +1/3EV), again according to your camera’s light meter.

TASK : try a few variation of exposure bracketing to create the exposures that you want…you may already have pre-sets on your phone or camera to help you do this, but experimenting manually will help your understanding!

Exposure Bracketing

Many digital cameras include an Auto Exposure Bracketing (AEB) option. When AEB is selected, the camera automatically takes three or more shots, each at a different exposure. Auto Exposure Bracketing is very useful for capturing high contrast scenes for HDR like this…

…by taking the same photograph with a range of different exposure settings

bracketed-exposures

You can use Exposure Compensation to quickly adjust how light or how dark your exposure will be using these controls…

canon

Or set the amount of “bracketing” like this…

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PAST WORK

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Self-Reflection Blog Post

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Create a Self-Reflection Blog Post
Answer some or all these questions:

  1. Now that it’s over, what are my first thoughts about this overall project? Are they mostly positive or negative?
  2. If positive, what comes to mind specifically? Negative?
  3. What were some of the most interesting discoveries I made while working on this project?
  4. What were the challenges?
  5. What is the most important thing I learned personally?
  6. How did I come up with my final best solution?
  7. What most got in the way of my progress if anything?
  8. What obstacles did I overcome?
  9. What did I learn were my greatest strengths? My biggest areas for improvement?
  10. What would I do differently if I were to approach the same problem again?
  11. What could I do differently from a personal standpoint the next time I work?
  12. What can I improve?
  13. How will I use what I have learned in the future?

In addition, think about and comment on:
WWW – WHAT WENT WELL

What are your strengths and weaknesses?

Think how you could improve your task/outcome:
EBI – EVEN BETTER IF

Set yourself some targets for moving your photography forward.
These could be skills based, analytical understanding, written analysis, organisation, blog post structure etc, etc,

Independent, Task

ENVIRONMENTAL PORTRAITS – PHOTO SHOOT

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Ideas for your environmental photo shoot.

WHO

  • Barber/Hairdresser
  • Dentist/Doctor
  • Postman
  • Market trader
  • Florist
  • Tattooist
  • Musician
  • Barista
  • Fishmonger
  • Butcher
  • Baker
  • Farmer
  • Cleaner
  • Chef/Cook
  • Teacher
  • Fisherman
  • Builder/Carpenter
  • Sportsman/Coach
  • Taxi driver

WHERE

  • Central Market
  • Fish Market
  • St Helier Shops
  • Hair salons/barbers
  • Coffee shop
  • Hautlieu School
  • Building Sites
  • Harbour
  • Sport centres/fields
  • Taxi Ranks
  • Own home

WHEN

You will have to think ahead and use your photo shoot plan.
You may have to contact people in advance, by phone, or arrange a convenient time. (Ask if you can return later in the day).

Remember to be polite and explain what your are doing and why!

It may surprise you that most people will be proud of what they do as it is their passion and profession and will be happy to show it off!

Don’t be scared. Be brave. Be bold. Be ambitious!!!

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PORTRAITURE -Introduction TASK

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MODERN DAY HEROES

Behind Closed Doors: Photographs of Essential Keyworkers During COVID-19.

Over half term please can you start and attempt to start taking portraits.

The theme will be ‘Modern Day Heroes’.
If you have a family member or a family friend who is a carer, nurse, doctor or works for any of the emergency services or as a key worker then please take some portrait images of them ensuring their uniform and/or equipment is clearly part of the portrait.

Roles could include any essential or key workers in the following areas:

  • Doctor
  • Nurse
  • Carer
  • Bus Driver
  • Firefighter
  • Police
  • Delivery
  • Paramedics
  • Health worker
  • Cleaners
  • Shop assistants
  • Postal workers
  • Hairdressers/Barbers
Fay - trainee nursing associate
Milton photographer captures portraits of key workers to show appreciation for their work | The News

If you don’t have a family member or family friend who works in these areas then you may have to be brave and try to photograph those you may come into contact with. eg: bus driver, delivery man, refuse collectors, cleaners, barber, hairdresser, postman etc.

The London bus drivers on the coronavirus front line | Financial Times
Photographer captures portraits of London's key workers on daily walks | Metro News
When will hairdressers, barbers and beauty salons open in Scotland? - Daily Record
Tom Nolan, one of Bury's hero bin men
The photograph doesn’t always have to include a person. It could be object based.
Can cleaners go back to work as government eases lockdown restrictions? | Chichester Observer

THINK ABOUT

Where, What, How, When, Who.

Lighting / Day / Night / Indoor / Outdoors

Aperture settings / Focus / Depth of Field

PLEASE HAVE YOUR IMAGES READY TO VIEW WHEN WE RETURN
Monday 2nd November 2020