Coursework (Component 1) will account for 60% of the grade
The Personal Study (critical essay) will account for 12% of Component 1 (this is tackled in Year 13)
The theme for this year is “Home”
There will be an Externally Set Assignment in Spring 2024, with various Controlled Conditions (15 hours duration over 3 days off-timetable) throughout Yr 12 and Yr 13…
Key competencies
Camera Handling skills
Blog post design and content development (digital portfolio)
Selection and editing of images (using Adobe Lightroom and Adobe Photoshop)
History and Theory
Analysis and interpretation of key artworks
Creative development of ideas
Conclusion of personal outcomes (this could be in digital form, printed matter, zines, gifs, films, photo-books and more)
Coursework Deadlines will be issued throughout the course and must be adhered to…
Controlled Conditions Schedule
January 23rd / 24th / 25th May 24th / 25th / 26th July 11th, Tues 12th, Wed 13th
Throughout the course we will endeavour to track and monitor your progress, and feedback the information you need to improve in meaningful 1-1 sessions, email updates and comments on each student’s blog. Over time, we have found this system to be progressive and a valuable process in enhancing each student’s awareness of their development in the subject.
We would urge each student (and parent) to ensure that 2-5 hours per week is spent on INDEPENDENT STUDY, and aim for 2-3 blog posts to be submitted each week. We have regular assessments to complete and want to reflect each students progress as accurately as possible!
Throughout Year 12 we will explore aspects of the theme HOME. This will include photographing and making imagery from a range of aspects of your home, habitat and environment…as well as finding out how various artists, researchers and even scientists respond to the concept of island-ness and in particular, Jersey itself.
…we can also access such resources as Geological sites that could include dolmens and other neolithic structures, such as La Cotte in St Brelade. Bays could include rocks, coastline and mythologial sites, such as Devil’s Hole and others.
To start with, we will be looking at how we can photography rocks, stones and pebbles as well as beach detritus in different ways.
Have a look at TYPES OF ROCK here to help you understand the structure of our island home
This is a plan for the first half term and will help you to develop some key skills and competencies.
Key creative outcomes…
Still-life: Collect at least 5 different objects/ debris (natural/ man-made) from your site and photograph as object in-situ and also create a mini-studio at home using black/white paper or other materials as a backdrop. Bring these objects to class too.
Shapes & Form: Look for interesting found objects to help you explore line, shape, form, texture, pattern and colour (the formal elements
Abstract & close-up: move in closer and look for textures/ patterns/ colourisation/ surfaces/ repetition within granite.
Photo-montage: create a range of outcomes that incorporate aspects of cut-n-paste, juxtapositions, overlays and multi-exposures
There are seven basic elements to photographic art that we must explore over the coming weeks:
Photographers have to impose order, bring structure to what they photograph. It is inevitable. A photograph without structure is like a sentence without grammar—it is incomprehensible, even inconceivable.
— Stephen Shore
Photographs consist of formal and visual elements and have their own ‘grammar’. These formal and visual elements (such as line, shape, repetition, rhythm, balance etc.) are shared with other works of art. But photographs also have a specific grammar – flatness, frame, time, focus etc. ‘Mistakes’ in photography are often associated with (breaking) the ‘rules’ and expectations of this grammar e.g. out of focus, subject cropped, blur etc. Some photographers enjoy making beautiful images but others are more critical of what beauty means in today’s world.
Let’s us take a close look at photography’s visual language and grammar using Photo Pedagogy’s Threshold Concept #8
Photo Literacy?
What does it mean to be literate in photography? Superficially, it might suggest an ability to ‘read’ a photograph, to analyse its form and meanings. But what about the making of photographs? We would argue that literacy is more than just a command of the mechanics of a particular ‘language’. It also takes into account fluency of expression and sensitivity to material. Words and images are different. A photograph of a particular subject is different to a description of the same subject in words. It is surely possible to see, understand and appreciate a photograph without the need for words. And what about the other possible ‘literacies’ such as emotional and physical literacy?
Most photography courses require some evidence of understanding in the form of words. As the year progresses we would like you to be able to analyse images using these four categories TECHNICAL, VISUAL, CONTEXTUAL, CONCEPTUAL.
EXTRA READING: In photography Formalism was advocated by John Szarkowski (Curator of Photography at Museum on Modern Art, New York) who is his book; The Photographer’s Eye (1966) identified five elements involved in the formalist approach to the analysis of photography, they are: the thing itself, the detail, the frame, time and the vantage point. Read an essay here where this is discussed in more detail:
Darren Harvey-Regan Beauties of the Common Tool, Rephrased II, 2013 Fibre-based handprint, mounted, wooden frame with museum glass
ca. 90 x 70 cm
What you must do…
Walker Evans greatly influenced Darren Harvey-Regan, and both artists paid careful attention to choice of objects, composition, lighting and exposure values.
You must explore the work of both artists (create a blog post that compares and contrast their work) and develop a range of images in response to their outcomes. For this, you will need to use the selection of objects you have brought in to class from your own HOME, or alternatively use those we have provided for you. Be experimental with choosing different apertures settings and creative with lighting set-up; key light, reflected light, back light etc. and we will show you various lighting arrangements too.
Albert Renger Patszch
a specific attitude to photography and the advantages of the camera as a way of seeing called…
The New Objectivity (Neue Sachlichkeit).
The types of subjects he preferred to photograph
The ways in which he explored the formal elements in his work e.g. form, light, rhythm, line, texture, repetition etc.
His famous book ‘The World is Beautiful’
Other photographers at the time who were similarly interested in objectivity
Contemporary photographers who have been influenced by the idea that ordinary objects and scenes can be photographed to reveal their beauty.
Historical context
There are numerous reasons why some photographers in the 1920s (along with other artists) began to represent the world with “objective, sober eyes”:
a response to the chaos of the First World War and a rejection of the culture leading up to it
a rejection of the emotional and spiritual concerns of Expressionism and an interest in the rational and political
a response to rapid industrialisation in Europe and America
a response to the particular qualities of the camera and a move away from painterly effects like soft focus
Karl Blossfeldt
Never formally trained in photography, Blossfeldt made many of his photographs with a camera that he altered to photograph plant surfaces with unprecedented magnification. His pictures achieved notoriety among the artistic avant-garde with the support of gallerist Karl Nierendorf, who mounted a solo show of the pictures paired with African sculptures at his gallery in 1926 and, subsequently, produced the first edition of Blossdeldt’s monograph Urformen der Kunst (Art forms in nature), in 1928. Following the enormous success of the book, Blossfeldt published a second volume of his plant pictures, titled Wundergarten der Natur (The magic garden of nature), in 1932. The clarity, precision, and apparent lack of mediation of his pictures, along with their presentation as analogues for essential forms in art and architecture, won him acclaim from the champions of New Vision photography. His work was a central feature of important exhibitions, including Fotografie der Gegenwart and Film und Foto, both in 1929.
Blossfeldt’s work adheres to the rules of TYPOLOGIES
Anna Atkins
In October 1843, the botanist and photographer Anna Atkins (1799–1871) wrote a letter to a friend. “I have lately taken in hand a rather lengthy performance,” revealed Atkins. “It is the taking photographical impressions of all, that I can procure, of the British algae and confervae, many of which are so minute that accurate drawings of them are very difficult to make.”1 Atkins proceeded to inquire whether a mutual acquaintance, also interested in aquatic plants, would care to receive a copy of her recently completed book, Photographs of British Algae: Cyanotype Impressions.
Atkins learned of photography through its British inventor, William Henry Fox Talbot. Only months after Talbot patented his most successful photographic process, in 1841, Atkins and her father, a respected scientist, decided to replicate the “talbotype” at their home. “My daughter and I,” Atkins’s father wrote to Talbot, “shall set to work in good earnest ’till we completely succeed in practicing your invaluable process.”3 Ultimately, it was a different photographic process—the cyanotype—that captivated Atkins. Developed by her friend and neighbor Sir John Herschel, the cyanotype process produced blue-and-white prints that Atkins prized for their sharp contours and striking colors. Atkins added hundreds of new plates to Photographs of British Algae throughout the 1840s and early 1850s, all the while refining cyanotype chemical solutions and exposure times.
Mandy Barker
Sea of artifacts by Mandy Barker
Matthew Brown (ex-student)
Here is a selection of images made by Matt Brown last year as part of his Personal Study: Bouley Bay.
Have a look at his blog here for more ideas around his research, artists inspirations and further experimentation.
Entwining image and object, the work of Darren Harvey-Regan (b. 1974 Exeter) often sees a hybridisation of the conventions of photography and sculpture. As quietly humorous as they are frustrating his works challenge the viewer to distinguish where representation ends and the object begins. “The presentation of photographs in interaction with objects serves to highlight the inherent tensions within representation; between the photograph as an object and the image of the world it contains. In this way, I consider the photograph as being something not only to think about, but to think with.”
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“As a medium reliant on how the natural world appears to it, can a photograph ever be truly abstract? Yet what process is more abstract than collapsing mass, depth and time into a single surface?” – Harvey-Regan
In geology an ‘erratic’ refers to a rock that differs from its native environment, having been carried and deposited there by a long-vanished glacier. Similarly Darren Harvey-Regan in his latest series executes both the photographic and physical act of lifting something out of its context, playing on overlapping appearances and processes.
The Erratics (Exposures) presents images of natural chalk rock formations eroded by wind and sand. Using an old large format field camera, Harvey-Regan sought out the monolithic chalk forms of Egypt’s Western Desert, a vast natural parallel to the singular studio-bound objects that frequently recur in his practice.
Both The Erratics (wrest)and (chalk fall in white) use sculptural compositions made by the artist from chalk collected from the rock falls along England’s South Coast. By carving smooth planes and shapes into rough rocks, Harvey-Regan works with and against perception of its natural forms. In the photographic works – (wrest) – the chalk is shaped towards the two-dimensional image surface of the print, while in the installation (chalk fall in white), the perception of a flattened image surface is created within the three-dimensional forms themselves.
Harvey-Regan uses art historian Wilhelm Worringer’s essay Abstraction and Empathy as both a background for the work and as a means to consider the nature of the photographic medium. For Worringer, ‘empathy’ describes our need to connect to the visible world, identifying with it and representing it. Conversely, ‘abstraction’ is proposed as a means of coping with the overwhelming phenomena of the world by extracting things from their place in space and time whilst distilling them to purified line, form and colour.
Both abstraction and empathy are captured in these works and their photographic process. The forms exposed in their natural surroundings in Erratics (Exposures) remain curiously abstract while tending more towards empathy, while forcefully sculpted objects in Erratics (Wrest) are balanced on the edge of the organic and abstract.
Still life derives from the Dutch word stilleven, coined in the 17th century when paintings of objects enjoyed immense popularity throughout Europe. The impetus for this term came as artists created compositions of greater complexity, bringing together a wider variety of objects to communicate allegorical meanings.
A New Medium
Still life featured prominently in the experiments of photography inventors Jacques-Louis-Mandé Daguerre and William Henry Fox Talbot, as far back as the 1830s. They did this in part, for practical reasons: the exceptionally long exposure times of their processes precluded the use of living models.
Symbolism and Metaphor – Vanitas
Pieter Claesz, Still Life with a Skull and a Writing Quill, 1628. Courtesy of the Metropolitan Museum of Art.
A vanitas is a symbolic work of art showing the transience of life, the futility of pleasure, and the certainty of death, often contrasting symbols of wealth and symbols of ephemerality and death.
The term originally comes from the opening lines of the Book of Ecclesiastes in the Bible: ‘Vanity of vanities, saith the Preacher, vanity of vanities, all is vanity.’
Vanitas are closely related to memento mori still lifes which are artworks that remind the viewer of the shortness and fragility of life (memento mori is a Latin phrase meaning ‘remember you must die’) and include symbols such as skulls and extinguished candles. However vanitas still-lifes also include other symbols such as musical instruments, wine and books to remind us explicitly of the vanity (in the sense of worthlessness) of worldly pleasures and goods.
Paulette Tavormina
Inspired by the works of 17th century Old Master still life painters such as Giovanna Garzoni and Maria Sibylla Merian, American photographer Paulette Tavormina creates stunningly lit imagery of fruits and vegetables immersed in dark atmosphere
Mat Collishaw
A perfect example of the old technique getting combined with modern-age ideas is Mat Collishaw’s Last Meal on Death Row series of works. Although they appear as meticulously arranged staged photography still lifes of food, each image is actually based on death row inmates’ last meals before they are executed. Apart from the eerie subject, the pictures deliver a strong drammatic effect through an excellent use of chiaroscuro.
Krista van der Niet
On a much more lighter, even pastel note, we have Dutch photographer Krista van der Niet, whose compositions often include fruits and vegetables mixed with mundane objects such as socks, cloths and aluminum foil, giving it all a contemporary feel. Her photos often carry a dose of satire as well, which references consumerism and popular culture through a clever employment of objects within a carefully composed scenery.
Laura LetinskyOlivia Parker
Experimenting with the endless possibilities of light, self taught photographer Olivia Parker makes ephemeral constructions. She started off as a painter, but soon turned to photography and quickly mastered the way to incorporate an extensive knowledge of art history and literature and reference the conflicts and celebrations of contemporary life in her work. Over the many years of her artistic career, her style remained fluid, yet consistent
Richard Kuiper
Think paintings by Pieter Claesz or Adriaen Coorte, only in plastic. That’s how one could describe the photographs of Richard Kuiper, whose objects are all made of this everlasting, widely used material, including water bottles, floral arrangements, even the feathers. The artist tries to draw our attention towards the excessive use of plastic in our everyday lives, with the hope we will be able to decrease it before it takes over completely.
What you must do…blog post on still life
Define what still life is
Show examples of still life painting and photography
Include specific artist references
Provide a chronological timeline of still life photography
ThenAnswer
What is Vanitas?
What is Memento Mori?
What kind of metaphors and symbols are used in still life and why?
Creatively respond to one of the artists above and create a set of images that clearly shows your understanding of…
A series of blog posts should now show a combination of visual experiments, Adobe Lightroom selections and adjustments, 3-5 final images and an evaluation
Inspired by minimalist sculpture and painting, these simple but effective still life studies encapsulate the formal elements . Artists such as Giorgio Morandi have a clear influence here…and again there is a strong connection between painting and photography, historically and traditionally.
1. The Stack
2. Using light and paper / tracing paper to create shadows and silhouettes
3. Print out initial images and re- appropriate / cut-n-paste
4. White / monochrome
5. Splicing two images together – use either printouts or Photoshop
6. Conceal and reveal – light and shade
What you must do…
Collect a group of objects that you think combine well. Consider shape and size, colour, texture etc.
Then look carefully at what / how Mary Ellen Bartley groups, lights and photographs her objects. Aim to create a set of images by altering the layout, lighting, focus, composition etc.
Print some of the results off — and then rip, tear, cut-n-paste to create a photo-montage. Re-photograph this and develop the composition into a final outcome.
Creative Developments
A closer look at ….Layering / overlays / multi-exposures and more…
A photomontage is a collage constructed from photographs.
Historically, the technique has been used to make political statements and gained popularity in the early 20th century (World War 1-World War 2)
Artists such as Raoul Haussman , Hannah Hoch, John Heartfield employed cut-n-paste techniques as a form of propaganda…as did Soviet artists like Aleksander Rodchenko and El Lissitsky
Photomontage has its roots in Dadaism…which is closely related to Surrrealism
The Art Critic 1919-20 Raoul Hausmann 1886-1971 Purchased 1974 http://www.tate.org.uk/art/work/T01918
You’re going to utilise your images from the studio object shoot and other material you have created recently for this…
Using your OBJECTS photographs to create experimental new images either by hand or using image manipulation software OR both!!!
The examples below were created using five images. The figure was cut out leaving an interesting negative shape and outlined. Other images could be slid underneath until connections and interesting compositions started to occur.
How to make a GIF in Photoshop 1. Create layer for each image 2. Window > timeline 3. Select > Create Frame Animation 4. Drop Menu > Make frames from Layers 5. Timeline > select Forever 6. File > Export > Save for Web Legacy > reduce image size to 720 x 720 pixels
A gif created using just three images.
A gif using 6 images.
Alwaysfollow the 10 Step Process and create multiple blog posts for each unit to ensure you tackle all Assessment Objectives thoroughly :
Mood-board, definition and introduction (AO1)
Mind-map of ideas (AO1)
Artist References / Case Studies (must include image analysis) (AO1)
Photo-shoot Action Plan (AO3)
Multiple Photoshoots + contact sheets (AO3)
Image Selection, sub selection, review and refine ideas (AO2)
Compare and contrast your work to your artist reference(AO1)
Evaluation and Critique (AO1+AO4)
Final Outcomes for HOME Part 1
You must edit and save / export a range of images for printing to the PRINT FOLDER found here by Thursday 20th October
M:\Radio\Departments\Photography\Students\Image Transfer\Year 12 HOME objects Oct 2022
Still Life Photos 1-3 images
Single Object Photos 1-3 images
Photomontage Analogue 1-3 images
Photomontage Digital 1-3 images
Remember to include a range of sizes
A3 / A4 / A5 and black and white images too
Image Resolution and Sizing
Final Outcomes for HOME Part 1
You must edit and save / export a range of images for printing to the PRINT FOLDER found here by Thursday 20th October
M:\Radio\Departments\Photography\Students\Image Transfer\Year 12 HOME objects Oct 2022
Still Life Photos 1-3 images
Single Object Photos 1-3 images
Photomontage Analogue 1-3 images
Photomontage Digital 1-3 images
Remember to include a range of sizes
A3 / A4 / A5 and black and white images too
File Handling and printing...
Remember when EXPORTING from Lightroom you must adjust the file size to 1000 pixels on the Short edge for “blog-friendly” images (JPEGS)
BUT…for editing and printing when EXPORTING from Lightroom you must adjust the file size to Short edge for “high resolution” images (JPEGS) like this…
A5 Short Edge = 14.8 cm
A4 Short Edge = 21.0 cm
A3 Short Edge =29.7 cm
This will ensure you have the correct ASPECT RATIO
For a combination of images, or square format images you use the ADOBE PHOTOSHOP > NEW DOCUMENT + PRINT PRESETS on to help arrange images on the correct size page (A3, A4, A5)
You can do this using Photoshop, Set up the page sizes as templates and import images into each template, then you can see for themselves how well they fit… but remember to add an extra 6mm for bleed (3mm on each side of the page) to the original templates. i.e. A4 = 297mm x 210 but the template size for this would be 303mm x 216mm.
Half Term
Week 8
Mounting and framing final images
Week 9 Year 12 off timetable on Wed 9th and Thurs 10th November
Mounting and framing final images
Making a Virtual Gallery in Photoshop
Download an empty gallery file…then insert your images and palce them on the walls. Adjust the persepctive, size and shape using CTRL T (free transform) You can also add things like a drop shadow to make the image look more realistic…
Throughout Year 12 we will explore aspects of the theme HOME. This will include photographing and making imagery from a range of aspects of your home, habitat and environment…as well as finding out how various artists, researchers and even scientists respond to the concept of island-ness and in particular, Jersey itself.
Autumn | Part 1 objects, detritus and ephemera
Winter | Part 2 landscape and surroundings
Spring | Part 3 people, community and identity
Week 20
Mon alternative room : blog /edits / start portrait project
Tues alternative room : blog /edits / start portrait project
Wed alternative room : blog /edits / start portrait project
YOURPHOTOGRAPHY CONTROLLED CONDITIONS Jan 23rd + 24th + 25th (7 hours per student)
Groups 12A + 12B / Periods 1-5 breaks as normal
Select, edit and arrange final images – ANTHROPOCENE
Complete all relevant and supporting blog posts
Add final images to print folder INCLUDING RURAL / URBAN IMAGERY
THEN…
Frame up / mount all available prints
Review blog and make improvements
“ANTHROPOCENE”
This is a mini-unit to help you explore further opportunities with your landscape photography. We will spend time looking closely at this and discussing ideas with you…
ANTHROPOCENE
What is Anthropocene?
How and why are photographers exploring this concept?
Use your skills and knowledge to date to tackle and approach this theme. ie: abstract, portraiture, identity, landscape, studio based photography etc. – YOU DECIDE!
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.
DISCUSS
Now watch this and discuss / compare the way in which various photographers have responded to this theme…
Blog Posts to make : CHECKLIST
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. You should aim to include a range of data, statistics, information, maps, documents, policies, pledges etc at this point to show a wide range of research methods and justification…
(These photographers should directly influence your final outcomes re : MOCK EXAM)
Make sure you describe in detail:
Why have you chosen this artist?
What interest you about their work?
How does the work relate to the theme of Anthropocene?
What are you going to do as a response to their work?
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.
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. Your final outcome could be an image, a collection of images, an altered landscape, a small zine, an exhibition in a virtual gallery, a projected image etc, etc.
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.
Task : Constructed Seascapes
Take a look at these photographic images (click on each image to expand):
‘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.
The Great Wave … sunlight breaks through the clouds above the waves at Sète, France, 1856–59 Illustration: Gustave le Gray
Industrial-scale US cattle farms captured by satellite imagery. These images, discovered by Henner while researching satellite photographs of oil fields, look more like post-apocalyptic wastelands than acreage in America’s heartland.
Diane Burko’s images of melting glaciers and dying coral reefs are not just pictorially impressive; they have strong emotional impact. (Carter Ratcliffe)
Diane Burko, “Postscript” (2019), mixed media: bleached coral mounted on wood, 50 x 25 inches
As a photographer how would you respond to climate change? Can a study of the environment and landscape of Jersey be an inspiration for a Personal Study?
Study latest issue: Photography+ Environment #14 from Photoworks that looks at the role of the photographer in documenting and confronting climate catastrophe. To explore this question, each writer and artist invites us to think about the relationship between photography and climate change, and between the photographer and their environment
Edward Burtynsky…nature transformed through industry
George Marazakis…humanity’s effect on Earth
Sebastiao Salgado…documentary photographer and photojournalist, respect for nature while also sensitive to the socio-economic conditions that impact human being
J. Henry Fair…uses pictures to tell stories about people and things that affect people.
David Maisel…radically human-altered environments.
Camilo Jose Vergara…documentation of American slums and decaying urban environments.
Andrew Moore…the effect of time on the natural and built landscapes.
Yves Marchand & Romain Meffre….modern ruins.
Yao Lu… contaminated landscapes – created from landfills and mounds of derelict rubble.
David T. Hanson… waste land.
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
Noemie Goudal
Darren Regan Harvey
Keith Arnatt
ABSTRACT Approaches
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.
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.
Naomi White – plastic bags.
Sophie Thomas – found, discarded plastics/rubbish.
Steven Gallagher – plastic bag topology photography
Mandy Baker – marine plastic debris
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.
You may decide that you want to make a statement on the current situation in Jersey. Take images that may evoke discussions to do with over population, the housing crisis, social divides (rich/poor), securing National Park land etc, etc.
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)
Altered Landscapes
“Unexpected Geology #18” – Ellen Jantzen (2018-19)
Altered landscapes focus on the process of using photoshop, or physically, in order to change the original composition of a landscape photograph. This may include changing the colours of the image, or in general changing the composition of the photo itself. For example cutting and pasting certain elements or adding forms of repetition or echo to the photograph.
Examples of altered landscapes
“Dust Storm” – Tanja Deman (2010)
Fernweh series explores the concept of a modernist city through its extreme relations to the landscape. The images are placed on a blurred line between a past which reminds us of a future and a future which looks like a past. Scenes are referring to the modernist ideas and aspiration of a man conquering the natural wild land and subordinating it to the rational order, and the consequences of those aspirations, which switched into the longing for an escape from urban environments.
Noémie Goudal’s practice is an investigation into photographs and films as dialectical images, wherein close proximities of truth and fiction, real and imagined offer new perspectives into the photographic canvas. The artist questions the potential of the image as a whole, reconstructing its layers and possibilities of extension, through landscapes’ installations. Noémie Goudal is represented by Edel Assanti (London) and the Galerie Les Filles du Calvaire (Paris).
Part of “Restore to Factory Settings” series – Felicity Hammond (2014)
Part of “Geometric Reflections” series- Victoria Siemer (2015-16)
Joan Fontcuberta Orogenesis Derain , 2004
In Landscapes without Memory, an exhibition of forty large-scale works made between 2002 and 2005, Fontcuberta harnesses a piece of landscape-rendering computer software designed for the military, which creates photo-realistic three-dimensional models based on two-dimensional sources.
Fontcuberta uses software called Terragen to create photorealistic visualisations of landscapes, but instead of using cartographic data as this software is designed to use, Fontcuberta has replaced it with canonical images of landscapes taken from the history of art.
Gill is a British photographer, who mainly draws inspiration from his immediate surroundings of inner city life in East London and more recently Sweden with an attempt to make work that reflects, responds and describes the times we live in.
His work is often made up of long-term photo studies exploring and responding to the subjects in great depth.
Altered landscapes inspired moodboard
Creative Techniques to explore…
Joiners
Panoramics
Globes
Tilt-Shift
Kaleidoscopic
Photomontage
Text
Embroidered / stitched / connected / collaged
Acetate + projections
Interference eg Stephen Gill
Accessing Archival Imagery
You may need / want to experiment with archival images of Jersey to incorporate into photomontages or other creative processes…
Compare and contrast your work to your artist reference(AO1)
Evaluation and Critique (AO1+AO4)
Final Outcomes for HOME Part 2 Anthropocene + Landscapes
You must edit and save / export a range of images for printing to the PRINT FOLDER found here by ….
Natural Landscape Photos 1-3 images
Urban + industrial Photos 1-3 images
Anthropocene 1-3 images
Remember to include a range of sizes
A3 / A4 / A5 and black and white images too
File Handling and printing...
Remember when EXPORTING from Lightroom you must adjust the file size to 1000 pixels on the Short edge for “blog-friendly” images (JPEGS)
BUT…for editing and printing when EXPORTING from Lightroom you must adjust the file size to Short edge for “high resolution” images (JPEGS) like this…
A5 Short Edge = 14.8 cm
A4 Short Edge = 21.0 cm
A3 Short Edge =29.7 cm
This will ensure you have the correct ASPECT RATIO
For a combination of images, or square format images you use the ADOBE PHOTOSHOP > NEW DOCUMENT + PRINT PRESETS on to help arrange images on the correct size page (A3, A4, A5)
You can do this using Photoshop, Set up the page sizes as templates and import images into each template, then you can see for themselves how well they fit… but remember to add an extra 6mm for bleed (3mm on each side of the page) to the original templates. i.e. A4 = 297mm x 210 but the template size for this would be 303mm x 216mm.
Mounting and framing final images
Making a Virtual Gallery in Photoshop
Download an empty gallery file…then insert your images and palce them on the walls. Adjust the persepctive, size and shape using CTRL T (free transform) You can also add things like a drop shadow to make the image look more realistic…
