watch the documentary on ‘Fixing the Shadows’ from BBC Genius of Photography, Episode 1.

To embed your understanding of the origins of photography and its beginnings you’ll need to produce a blog post which outlines the major developments in its practice. Some will have been covered in the documentary but you may also need to research and discover further information.

Your blog post must contain information about the following and keep it in its chronological order:

Each must contain dates, text and images relevant to each bullet point above. In total aim for about 1,000-2000 words.

Photographic-Processes

In addition, research at least one photographer from the list below in the photo-archive and choose one image that references some of the early photographic processes, such as daguerreotype, calotype, salt paper prints, wet plate collodion, albumen prints, autochrome and colour transparencies as part of the origins and evolution of photography and include it in your essay.

Henry Mullins
William Collie
Ernest Baudoux
Clarence P Ouless
Francis Foot
Charles Hugo
Edwin Dale

National Science and Media Museum: History of the Autochrome: the Dawn of Colour PhotographyGlossary-of-processes-techniques

Glossary-of-movements-genres

Glossary-of-Key-Terms

Archives in contemporary photography: Also read text about the resurgence of archives in contemporary photography by theorist David Bate: archives-networks-and-narratives_low-res, make notes and reference it by incorporating quotes into your essay to widen different perspectives. Comment on quotes used to construct an argument that either support or disapprove your own point of view.

Origins of Photography: Study this Threshold concept 2: Photography is the capturing of light; ​a camera is optional developed by PhotoPedagogy which includes a number of good examples of early photographic experiments and the camera obscura which preceded photography. It also touches on photography’s relationship with light and reality and delve into photographic theories, such as index and trace as a way of interpreting the meaning of photographs.

Photography did not spring forth from nowhere: in the expanding capitalist culture of the late 18th and 19th centuries, some people were on the look-out for cheap mechanical means for producing images […] photography emerged experimentally from the conjuncture of three factors: i) concerns with amateur drawing and/or techniques for reproducing printed matter, ii) light-sensitive materials; iii) the use of the camera obscura
— Steve Edwards, Photography – A Very Short Introduction

Debates about the origins of photography have raged since the first half of the nineteenth century. The image above left is partly the reason. View from the Window at Le Gras is a heliographic image and arguably the oldest surviving photograph made with a camera. It was created by Nicéphore Niépce in 1826 or 1827 at Saint-Loup-de-Varennes, France. The picture on the right is an enhanced version of the original which shows a view across some rooftops. It is difficult to tell the time of day, the weather or the season. This is because the exposure time for the photograph was over eight hours.

What is a daguerreotype?

The daguerreotype was the first commercially successful photographic process (1839-1860) in the history of photography. Named after the inventor, Louis Jacques Mandé Daguerre, each daguerreotype is a unique image on a silvered copper plate.

In contrast to photographic paper, a daguerreotype is not flexible and is rather heavy. The daguerreotype is accurate, detailed and sharp. It has a mirror-like surface and is very fragile. Since the metal plate is extremely vulnerable, most daguerreotypes are presented in a special housing. Different types of housings existed: an open model, a folding case, jewelry…presented in a wooden ornate box dressed in red velvet. LD a theatre set designer

The invention of photography, however, is not synonymous with the invention of the camera. Cameraless images were also an important part of the story. William Henry Fox Talbot patented his Photogenic Drawing process in the same year that Louis Daguerre announced the invention of his own photographic method which he named after himself.

Anna Atkins‘ British Algae: Cyanotype Impressions of 1843 is the first use of photographic images to illustrate a book. This method of tracing the shapes of objects with light on photosensitive surfaces has, from the very early days, been part of the repertoire of the photographer.

The cyanotype (from Ancient Greek: κυάνεος, kyáneos ‘dark blue’ and τύπος, týpos ‘mark, impression, type’) is a slow-reacting, economical photographic printing formulation sensitive to a limited near ultraviolet and blue light spectrum, the range 300 nm to 400 nm known as UVA radiation.^[1] It produces a monochrome, blue coloured print on a range of supports, often used for art, and for reprography in the form of blueprints. For any purpose, the process usually uses two chemicals: ferric ammonium citrate or ferric ammonium oxalate, and potassium ferricyanide, and only water to develop and fix. Announced in 1842, it is still in use

In the month of August 1835, William Henry Fox Talbot produced the first photographic negative to have survived to this day. The subject is a window. Despite the clear connection, it is an entirely different image compared to those of his colleagues Niépce and Daguerre. Those are photographs taken from a window, while this is the photograph of a window. From the issue of realism, we shift here into an extremely modern outlook which today would be likened to conceptual and metalinguistic discourse. While the window constitutes the most immediate metaphor to refer to photography, Talbot doesnʼt use it but more simply he photographs it. He thus takes a photograph of photography. The first to comment on this was the author himself, writing a brief note (probably added when it was displayed in 1839) on the card upon which it is mounted. The complete text reads:

Latticed Window (with the Camera Obscura)
August 1835 When first made, the squares of glass, about 200 in number could be counted, with help of a lens

In 1978, the German photographer Floris Neusüss visited Lacock Abbey to make photograms of the same window. He returned again in 2010 for the Shadow Catchers exhibition at the V&A to create a life-sized version of Talbot’s window (below right).

That 1878 photogram was the start of our adventures in creating photograms of large objects in the places where we found them […] we took our equipment to Lacock Abbey and made a photogram of a fixed subject. This particular subject was for us not just a window in a building but an iconic window, a window on photography, opened by Talbot. The window is doubly important, because to be able to invent the photograph, Talbot first used photograms to test the light sensitivity of chemicals. His discovery became a window on the world. I wonder what percentage of our understanding of the planet we live on now comes from photographs?
— Floris Neusüss

The idea of photographs functioning like windows makes total sense. Like the camera viewfinder, windows frame our view of the world. We see through them and light enters the window so that we can see beyond. Photographs present us with a view of something. However, it might also be possible to think of photographs as mirrors, reflecting our particular view of the world, one we have shaped with our personalities, our subconscious motivations, so that it represents how our minds work as well as our eyes. The photograph’s glossy surface reflects as much as it frames. Of course, some photographs might be both mirrors and windows. If you’re interested in thinking a bit more about this you might want to check out this resource.

George Eastman

Questions to consider in your research:

• How did he make photography available to the masses?
• What company did he form?

Initially, Mr Eastman was working in a bank as a bank teller. He became interested in photography as he wanted to document a vacation he was planning.
But he became more interested in photography than going on vacation. He never did go. Eastman revolutionised photography by degrees…..

In 1879, London was the center of the photographic and business world. George Eastman went there to obtain a patent on his plate-coating machine. An American patent was granted the following year.

In April 1880, Eastman leased the third floor of a building on State Street in Rochester, and began to manufacture dry plates for sale.

Eastman built his business on four basic principles:

• a focus on the customer
• mass production at low cost
• worldwide distribution
• extensive advertising

As Eastman’s young company grew, it faced total collapse at least once when dry plates in the hands of dealers went bad. Eastman recalled them and replaced them with a good product. “Making good on those plates took our last dollar,” he said. “But what we had left was more important — reputation.”

“The idea gradually dawned on me,” he later said, “that what we were doing was not merely making dry plates, but that we were starting out to make photography an everyday affair.” Or as he described it more succinctly “to make the camera as convenient as the pencil.”

Eastman’s experiments were directed to the use of a lighter and more flexible support than glass. His first approach was to coat the photographic emulsion on paper and then load the paper in a roll holder. The holder was used in view cameras in place of the holders for glass plates. In 1883, he eventually announced something we now take for granted, a roll of film.

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Kodak (Brownie)

The roll of film became the basis for the first Kodak camera, initially known as the “roll holder breast camera.” The term Kodak, coined for the occasion by Eastman himself, first appeared in December 1887.

With the KODAK Camera, Eastman put down the foundation for making photography available to everyone. The Brownie was a basic box camera with a single lens. It used a roll film, another innovation from Eastman Kodak. Users received the pre-loaded camera, took their photographs, and returned it to Kodak. Kodak would develop the film, print the photos, reload the camera with new film, and return it to the customer.

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The dawn of colour photography

While people were amazed with the invention of photography, they didn’t understand how a process that could record all aspects of a scene with such exquisite detail could fail so dismally to record its colours. The search immediately began for a means of capturing accurately not only the form but also the colours of nature.

While scientists, photographers, businessmen and experimenters laboured, the public became impatient. Photographers, eager to give their customers what they wanted, soon took the matter, literally, into their own hands and began to add colour to their monochrome images. As the writer of A Guide to Painting Photographic Portraits noted in 1851:

When the photographer has succeeded in obtaining a good likeness, it passes into the artist’s hands, who, with skill and colour, give to it a life-like and natural appearance.

The three colour process

In 1861, a young Scottish physicist, James Clerk Maxwell, conducted an experiment to show that all colours can be made by an appropriate mixture of red, green and blue light.

Maxwell made three lantern slides of a tartan ribbon through red, green and blue filters. Using three separate magic lanterns—each equipped with a filter of the same colour the images had been made with—he then projected them onto a screen. When the three images were superimposed together on the screen, they combined to make a full-colour image which was a recognisable reproduction of the original.

Early Experiments:

While the fundamental theory may have been understood, a practical method of colour photography remained elusive.

In 1891 Gabriel Lippmann, a professor of physics at the Sorbonne, demonstrated a colour process which was based on the phenomenon of light interference—the interaction of light waves that produces the brilliant colours you see in soap bubbles. This process won Lippmann a Nobel Prize in 1908 and was marketed commercially for a short time around the turn of the 19th century.

Not long after Maxwell’s 1861 demonstration, a French physicist, Louis Ducos du Hauron, announced a method for creating colour photographs by combining coloured pigments instead of light. Three black-and-white negatives, taken through red, green and blue filters, were used to make three separately dyed images which combined to give a coloured photograph. This method forms the basis of today’s colour processes.

While this work was scientifically important, it was of limited practical value at first. Exposure times were long, and photographic materials sensitive to the whole range of the colour spectrum were not yet available.

Autochrome

(read more here)

The first properly usable and commercially successful screen process—the autochrome—was invented early in the 20th century by two French brothers, Auguste and Louis Lumière.

In 1904 they gave the first presentation of their process to the French Academy of Science, and by 1907 they had begun to produce autochrome plates commercially.

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The First Digital Image:

Russell Kirsch was an American who worked a steady job at the National Bureau of Standards. in 1950, he and his colleagues developed the USA’s first operational stored-program computer, known as the Standards Eastern Automatic Computer, or SEAC.

This computer would be used for all sorts of applications. It was Russell Kirsch who first looked at the hulking machine – (which back then was considered to be a relatively slimline computer )– and had the thought, ‘Gee, y’know, we could probably load a picture into this thing.’

Kirsch and the team built their own drum scanner that would allow them to ‘trace variations of intensity over the surfaces of photographs’. With this, they were able to make the first digital scans. One of the first – possibly the very first – was an image of Russell Kirsch’s newborn son, Walden Kirsch.

Digital Photography

1969 – CCD Chips
The beating heart of a digital camera is its sensor. Fulfilling the same function as a frame of film, a sensor records the light that hits it, and sends it to the processor for the necessary translation that makes it a digital image.

At this point in the digital photography story, sensors start to enter the picture. In 1969, Willard Boyle and George Smith of Bell Labs developed something they called a charge-coupled device, which digital photographers with long memories might find more familiar if we refer to it by its more common name – a CCD. Essentially, it used a row of tiny metal-oxide-semiconductor (MOS) capacitors to store information as electrical charges (fulfilling the same function as the magnetic tape in the older cameras).

Though Boyle and Smith were mostly concerned with computing, subsequent inventors made the connection that if you were to pair this device with something photosensitive, you’ve got yourself a rudimentary camera sensor. In 1972, the first published digital colour photograph splashed on the front of Electronics magazine, taken by British-born engineer Dr Michael Tompsett.

Artist Research – Extend your work

In addition, research at least one Jersey photographer from the list below and choose one image that references some of the early photographic processes, such as: daguerreotype, calotype, salt paper prints, wet plate collodion, albumen prints, autochrome and colour transparencies as part of the origins and evolution of photography and include it in your essay.

• Henry Mullins (Photographer who worked in Jersey and using Daguerrotype)
• William Collie (one of the first to useFox Talbot’s calotype process in Jersey)
• Ernest Baudoux (worked in Jersey from 1869)
• Clarence P Ouless (became one of the most popular commercial photographers in the island in the late 1800s)
• Francis Foot –
• Charles Hugo
• Edwin Dale

Further helpful research:

• Glossary-of-movements-genres
• Glossary-of-Key-Terms
• Archives in contemporary photography: Read text about the resurgence of archives in contemporary photography by theorist David Bate: archives-networks-and-narratives_low-res, make notes and reference it by incorporating quotes into your essay to widen different perspectives. Comment on quotes used to construct an argument that either support or disapprove your own point of view.
• Origins of Photography: Study this concept 2: Photography is the capturing of light; ​a camera is optional developed by PhotoPedagogy which includes a number of good examples of early photographic experiments and the camera obscura which preceded photography. It also touches on photography’s relationship with light and reality and delve into photographic theories, such as index and trace as a way of interpreting the meaning of photographs.
• ART PERIODS THROUGH TIME

Examples of Jersey-based Photographers—the early days…

SJ Photo-Archive – historical context
Henry Mullins
William Collie
Ernest Baudoux
Clarence P Ouless
Francis Foot
Charles Hugo
Edwin Dale

ART PERIODS THROUGH TIME

Throughout Year 12 we will explore aspects of the theme Nostalgia. This will include photographing and making imagery from a range of aspects of your life, experiences and environment…as well as finding out how various artists, researchers and even scientists respond to the concept of Nostalgia

Autumn | Part 1 objects, detritus and ephemera

Winter | Part 2 landscape and surroundings

Spring | Part 3 people, community and identity

To start with, we will be looking at how we can photograph a range of objects, surfaces and documents in different ways.

This is a plan for the first half term and will help you to develop some key skills and competencies.

Still Life

Still life has captured the imagination of photographers from the early 19th century to the present day. It is a tradition full of lavish, exotic and sometimes dark arrangements, rich with symbolic depth and meaning.

However, before we begin making images of our objects we need to learn about how still-life emerged as an independent genre, in particularly during the early 1600s Dutch and Northern European paintings. Many of the objects depicted in these early works are symbolic of religion and morality reflecting on the increasing urbanization of Dutch and Flemish society, which brought with it an emphasis on the home and personal possessions, commerce and trade. Paintings depicting burnt candles, human skulls, dying flowers, fruits and vegetables, broken chalices, jewelry, crowns, watches, mirrors, bottles, glasses, vases etc are symbolic of the transience and brevity of human life, power, beauty and wealth, as well as of the insignificance of all material things and achievements.

Throughout its long history, still life has taken many forms, from the decorative frescoes of antiquity to the high art of the Renaissance. Traditionally, a still life is a collection of inanimate objects arranged as the subject of a composition. Nowadays, a still life can be anything from your latest Instagram latte art to a vase of tulips styled like a Dutch Golden Age painting. Read here for more details about the different categories within still-life paintings such as Fruits, Flowers, Breakfast pieces, Trompe L’Oeil and Vanitas.

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.

Study this exhibition: ART OF ARRANGEMENT: PHOTOGRAPHY AND THE STILL LIFE TRADITION

READ the following two short essay linked with the exhibition above for more understanding of still life in art and photography—with its roots in the vanitas tradition.

Brian Liddy: ‘ART OF ARRANGEMENT’: ON THE SHORTNESS OF LIFE

Roy Exley: ‘ART OF ARRANGEMENT’: STILL LIFE IN THE STILL-LIFE

Here is a link to an overview of still-life definition.

https://mymodernmet.com/what-is-still-life-painting-definition/

Lets take a closer look at the painting, Cookmaid with Still Life of Vegetables and Fruit by British painter Sir Nathaniel Bacon.

Listen to curator Tim Batchelor discussing the painting

For further insights into the symbolic meaning of food and objects in still-life paintings

Symbolism and Metaphor – Vanitas

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.

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

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.

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.

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

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

Then Answer

Photo-assignment: Creatively respond to one of the artists above and create a set of images that clearly shows your understanding of…

Light – Shape- Shadow – Composition – Metaphor – Symbolism – Memento Mori

A series of blog posts should now show a combination of still life research and history, image analysis methods, visual experiments, Adobe Lightroom selections and adjustments (screen shots as evidence), Canon Camera Simulator and Camera Handling Skills

Week 4 + 5 Formalism and New Objectivity

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.

Here is the link the the online version of his photobook, Bouley Bay – by Matthew Brown

Darren Harvey Regan

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.”

“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.

Photobook: The Erratics

Stephen Gill

Week 6+7 Moving towards photomontage

Developing still life ideas…a closer look at Mary-Ellen Bartley

Mary-Ellen Bartley “7 Things again and again”.

https://vimeo.com/421112708

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.

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.

Create a blog post that introduces Mary Ellen Bartley and her approach.

Creative Developments

A closer look at ….Layering / overlays / multi-exposures and more…

Make do and mend…click here for ideas

Photo-Montage

The cutting and assemblage of the parts is applied here on a static plane. The effect is that of a real scene, a synopsis of actions, produced by originally unrelated space and time elements juxtaposed and fused into a reality.
Laszlo Moholy-Nagy

[Photomontage] is my way of connecting with the word and I like the idea that I cam invent a reality that, for me, is personally more meaningful than the one that’s literally given to the eye
Jerry Uelsmann

I’ve always made a distinction between collage and photomontage. Montage is about producing something seamless and legible, whereas collage is about interrupting the seam and making something illegible
John Stezaker

You’re going to use 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!!!

Cut / Slice / Trim / Slide / Join / Add / Combine / Match /  Mix / Tear / Scrunch / Fold / Stick / Stitch / Sew / Weave / Holes / Burn / Singe / overlap

Photographers you should look at include:

•John Stezaker •Bobby Neal Adams •Linder Sterling •Johanna Goodman •Max-o-matic •Luis Dourabo •Joe Castro •Bela Borsodi / Kensuoke Koike / Sarah Eisenlohr / Jesse Treece / Jesse Draxler / Joachim Schmidt /

http://www.artnet.com/artists/john-stezaker/

https://www.bobbyneeladams.com/

https://www.tate.org.uk/art/artists/linder-10844

http://www.johannagoodman.com/#/

https://www.belaborsodi.com/

SOME EXAMPLES – CUT N PASTE

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.

MORE ON PHOTOMONTAGE FOR YOU HERE

Extension Experiment

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.

Always 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)

Final Outcomes for Nostalgia Part 1

You must edit and save / export a range of images for printing to the PRINT FOLDER found here by Thursday 19th October

M:RadioDepartmentsPhotographyStudentsImage TransferYear 12 NOSTALGIA objects Oct 2023

1. Still Life Photos 1-3 images
2. Single Object Photos 1-3 images
3. Optional Extension Ideas
4. Photomontage Analogue 1-3 images
5. 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 NOSTALGIA Part 1

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 too…

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

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…

…or using online software

How I did it:

Step 1: Go to www.artsteps.com

Step 2: Sign in / up.

Step 3: Create.

Step 4: Create your own location or choose a template.

Step 5: Upload your images, put them in your exhibition, name it and give it a description.

Step 6: Present / view your Exhibition.

YOUR FINAL BLOG POST SHOULD CLEARLY SHOW 3-5 POSSIBLE FINAL OUTCOMES , INCLUDING YOUR PRESENTATION METHOD

1. sequencing of images
2. grouping of images -grids , triptych, diptych, dioramas, predellas
3. sculptural / multi-media approaches
4. framing methods
5. blog (show examples of frames / borders + process)
6. clarity of final outcomes—which images are your final outcomes?
7. coursework round – up and evaluation