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

1. Mood-board, Mind-map of ideas (AO1)definition and introduction (AO1)
2. Statement of Intent / proposal
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)

IMAGE ANALYSIS MATRIX

Image Analysis Guiding Questions

OBSERVE: Identify and note details

• What type of image is this (photo, painting, illustration, poster, etc.)?
• What do you notice first? Describe what else you see.
• What’s happening in the image?
• What people and objects are shown? How are they arranged? How do they relate to each other?
• What is the physical setting? Is place important?
• What, if any, words do you see?
• Are there details that suggest the time period this image relates to? Is the creation date listed in
  the bibliographic record? If the creation date is listed, was this image created at or around the
  same time period the image relates to?
• What other details can you see?

REFLECT: Generate and test hypotheses

• What tools might have been used to create this image?
• Why do you think this image was made? What might have been the creator’s purpose? What
  evidence supports your theory?
• Why do you think the creator chose to include these particular details? What might have been
  left out of the frame?
• Who do you think was the audience for this image?
• What do you think the creator might have wanted the audience to think or feel? Does the
  arrangement or presentation (lighting, angle, etc.) of the details affect how the audience might
  think or feel? How?
• What do you feel when looking at this image?
• Does this image show clear bias? If so, towards what or whom? What evidence supports your
  conclusion?
• What was happening during the time period this image represents? If someone made this image
  today, what would be different/the same?
• What did you learn from examining this image? Does any new information you learned
  contradict or support your prior knowledge about the topic or theme of this image?

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Once you have been instructed on how to use the lighting studio safely and respectfully, you will be able to use the studio during lesson times or in study periods. You must book the facility in advance via one of your teachers JAC / MM / MVT / CMK

You must always leave the studio in a clean and tidy, safe manner. All equipment must be switched off and packed away. Any damage must be reported and logged.

Types of lighting available

• Continous lighting (spot / flood)
• Flash head
• Soft box
• Reflectors and coloured gels

Still Life Photography and using the product table / copy stand

Still-life Studio Shoot:

You can choose to photograph each object individually or group together several objects for a more complex still life arrangements.

Technical stuff

Continuous Lights – photograph objects three dimensionally

Camera setting: Manual Mode
ISO: 100
White Balance: Daylight
Aperture: F/16
Shutter: 0.5 sec to 0.8 sec (depending on reflection of each object)
Lights in room must be switched off to avoid reflections

Continuous Lights – portrait

Camera setting: Manual Mode
ISO: 100
White Balance: Daylight Shutter Speed 1/125 sec Aperture f/16

Flash Lights – photograph images, documents, books, newspapers, etc or portraits

Camera setting: Manual Mode
ISO: 100
White Balance: Daylight
Aperture: F/16
Shutter: 1/125-1/200 (depending on reflection of each object)
Flash heads set to power output: 2.0
Use pilot light for focusing

PORTRAITS

Camera settings (flash lighting)
Tripod: optional
Use transmitter on hotshoe
White balance: daylight (5000K)
ISO: 100
Exposure: Manual 1/125 shutter-speed > f/16 aperture
– check settings before shooting
Focal lenght: 105mm portrait lens

Camera settings (continuous lighting)
Tripod: recommended to avoid camera shake
Manual exposure mode
White balance: tungsten light (3200K)
ISO: 400-1600 – depending on how many light sources
Exposure: Manual 1/60-1/125 shutter-speed > f/4-f/8 aperture
– check settings before shooting
Focal length: 50mm portrait lens

RESOURCE LINK HERE

ELINCHROM LIGHTS GUIDE HERE

1st Photoshoot Plan:

For my first photoshoot I am going to go to the beach, still don’t know what beach though, most likely frigate. I am going to take photos of the sea when is high tide and when its low tide. I’m also going to takes three different pictures but all in the same place but just different angles just like Michael Marten did because I found it more interesting. These are the photoshoots Michael Marten inspired me to copy.

2nd Photoshoot Plan:

For my second photoshoot I am going to take photos of bunkers and abandoned places all inspired by Yves Marchand & Romain Meffre. These are the photoshoots that inspired me to copy Yves Marchand & Romain Meffre.

These are the photoshoots I took at Harve de pa.

best images:

I love the way they came out looks so aesthetic. I tried not to make the images that light and bright because I feel like it looks better with less light but bit more detail. My favourite one is probably the last one, the one with the sea horse because I like the way it is set and how it’s black and white. You can also see nice shades of black and white which makes the image more interesting.

How does Henri Cartier-Bresson view the activity of photography?

Henri Cartier-Bresson once said “for me the camera is a sketch book, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decides simultaneously… It is by economy of means that one arrives at simplicity of expression” basically meaning that creating a great “decisive moment” in photography is to combine your head (intellectual abilities), your eye (vision), and heart (emotions) on the “same axis”.

‘Decisive moment’

‘Biography’

Henri Cartier-Bresson (French, born August 22, 1908–died August 3, 2004) turned into an influential artist and photographer of the 20th century. Considered an early pioneer of photojournalism, Cartier-Bresson commenced his creative profession analysing portray with André Lhote. He took his first pix whilst he travelled to Africa in 1931, and he persisted with this medium upon returning to Europe. Cartier-Bresson`s pix had been posted the subsequent 12 months in Arts et Metiers Graphiques. The next years introduced the photographer`s exhibitions to Spain, Mexico, and the United States. While in New York, he studied the artwork of movement pictures, and later assisted the director Jean Renoir with Partie de Campagne, a brief movie taken into consideration exemplary of Impressionist cinema. In 1937, Cartier-Bresson directed a documentary on healthcare in Spain, and photographed the coronation of Great Britain`s George VI. His travels and topics once in a while introduced undesirable attention, inclusive of whilst he turned into incarcerated in Nazi Germany in 1940, at the same time as serving within side the French army. Escaping on his 0.33 attempt, he later blanketed the liberation of France, and filmed a documentary on battle reparations. Many within side the United States believed him to have perished within side the battle, so Cartier-Bresson travelled to New York in 1946 to open an exhibition at The Museum of Modern Art. The following 12 months, he hooked up Magnum Photos, a photographer-owned cooperative, with Robert Capa, David Seymour, William Vandivert, and George Rodger. The following years determined the photographer within side the Far East, protecting the demise of Ghandi, the upward thrust of Communist China, and the Indonesian independence movement. Cartier-Bresson spent maximum of the Nineteen Fifties lower back in Europe publishing books of his photographic essays. The subsequent decade, however, supplied many extra tour opportunities, consisting of visits to Fidel Castro`s Cuba, Japan, and the United States. While in America, he directed documentaries for CBS News. In 1975, he gave up pictures to go back to portray. His photographic legacy is summarized via way of means of his very own book, Images à los Angeles Sauvette, or The Decisive Moment. Cartier-Bresson`s capacity to seize the cut up 2nd whilst a choice turned into made or whilst a direction turned into reversed introduced energy to his pictures, a energy many succeeding generations of photographer nevertheless are seeking to re-create. The artist died on August 3, 2004.

‘Camera & Lens’

His technique: Henri Cartier-Bresson almost exclusively used Leica 35 mm rangefinder cameras equipped with normal 50 mm lenses or occasionally a wide-angle for landscapes. He often wrapped black tape around the camera’s chrome body to make it less conspicuous.

‘Photo Analysis’

Henri Cartier-Bresson photo analysis

In this photo you can see that the railings, even the pigeon, are locking into the reciprocals and the women in the middle are on the baroque diagonal. He’s capturing all of the repeating verticals of the railings which also helps with depth. But the hard part, and one that takes a bit of thinking, is to capture the diagonals. Here we can see he’s repeating three diagonals. The middle diagonal, with the line of women, is the exact line of direction (even though some of the women can be found on the baroque diagonal). He’s even got a few coincidences where he planned to press the shutter button. The one that impresses me the most is the one that comes down from the top middle and coincides with the woman standing and the railing.