For my photoshoot I would like to look more at female empowerment and the future of women’s rights and how they are being portrayed in more positive way as times continue. This photoshoot will show a more positive light on women and how times have evolved to empower them instead of restrict them to certain values and opinions. This photoshoot will be created to show woman who are capable and headstrong with knowledge and intelligence.
For this photoshoot, I will take pictures in a house which is an out of school photoshoot to display women with power and almost being over-dramatic about their posing and expressions. Another interesting component of this photoshoot, is that these women will be young adults of the age of 18, instead of a women ages e.g. 30, who has lived a life to develop into who she is. Due to these girls’ age, it creates a meaning that it does not depend on age, when a girl can be powerful and self-confident. I would like to focus on posing and how, the way you come across, demonstrates your power and confidence.
Helmut Newton References.
My images are being produced In response to Helmut Newton’s work, however, my images will display similar signifiers in his work such as the topics of dominance, confidence and power. Although Newton’s work is controversial for being either critical of women or empowering women, I would like to explore different aspects of his work, as some of his images are seen to be empowering, and some more disparaging. The conflict of emotions towards his work argue whether his images are empowering the woman as his work surrounds themes such as power and control, instead of submission and manipulation. In my photoshoot, I am going to be interpreting Helmut Newton’s work surrounding themes of dominance control and power, but my work will be highlighting the difference in empowerment and objectification. I will do this by having a similar style of photographs, but have my models be glamorous and celebrated not glamourous and subordinate.
Here are some examples of images I would like to include in my photoshoot outside of school in response to his work.
These photos are perfect representations of images I would like to produce in my own photoshoot. I want my models to look elegant and posed in similar situations to this. I am choosing this style of photos out of his different genres as I feel these images display the classy and glamorous yet voyeuristic style of images where the women are dressed up. I want my models to pose in a confident manner to show they are self-aware and strong, contrasting with stereotypical portrayals of women.
My Photoshoot:
I would like my 3/4 models to initially be dressed in long black dresses with red lipstick and long straight hair. This is to demonstrate the stereotypical powerful woman during this time period. However, I would also like to experiment with different outfits and hairstyle and makeup in order to replicate different images and create an impression of fashion photography in response to Helmut Newton’s work. I would like to initially start with black dresses as many of his photos feature this type of outfit. However, I am attempting to provide similar extravagant clothing. Here are some outfit ideas I would like to include in my photographs. Pieces such as long dresses, black trousers, blazers, heels, tights and coats, all with darker tones I think will really boost my images to look more similar to his work.
Posing Ideas.
These poses give me ideas on how to show power, confidence and beauty. These are a wide range of things I would like to focus on in order to relate to the idealised view of a woman and how they are portrayed, vs how they really are. I really want to convey a message about how women are portrayed and how the line between glamour and class and objectification and humility is able to be hidden easily in the fashion world.
Photoshoot-My Favourite Images:
I chose to put these photographs into black and white in order to relate closer to Helmut Newton’s work. I feel like these fashion magazine inspired photographs are a good modern day representation of his work. I had 3 modes in different but similar outfits of long dark dresses and sunglasses. I feel like this was one of my more successful photoshoots which demonstrate an array of images relating to my chosen photographer’s work. The location of my photoshoot I feel played a key part in my photoshoot as the background included staircases, curtains, doors and fireplaces. I chose to include these features in order to create a grand and impressive backdrops for my shoot.
I feel these images are my best out of the 100 photographs I took. These images relate to Helmut Newton’s work as it demonstrates high contrast images with bold lighting. I feel this lighting incorporated with a black and white filter has heightened the quality and the sense of mystery and allure to my work. I also believe that these images revolve round a strong and powerful feminine energy of strength, which elevates the clothing promoted in a magazine as an audience will feel empowered and encouraged through self-assured and confident models. An impression of elegance, aggression, sass and glamour is a message I was attempting to share in my photoshoot as it opposes traditional depictions of female models in the fashion photography industry. I also wanted my models hair, makeup, accessories and outfits to be high fashion, quality and portray an expensive aesthetic. This is in order to give the impression that these are top fashion designer clothing which would be displayed in magazines such as Vogue, Cosmopolitan, Elle and GQ.
Top 5 Images In Colour:
These 5 Images are in colour as I think although having images in black and white are strong and detailed, the outfits and backgrounds create a striking effect on my images which I may also use in my final booklet. However, Helmut Newton’s images are predominantly displaying women in bold, high contrast lighting in striking outfits. I feel the coloured photos take away the ‘difference’ and ‘distinct’ effect and message for the viewer.
EDITING ANALYSIS.
Whilst editing my images, I have paid attention to Helmut Newton’s style of editing and made a multitude of different editing styles shades and colours. However, In the end I found a high contrast black and white is the perfect setting for these images. Whilst finding the correct filters and shades I also experimented with shades such as ‘cool shadows and warm highlights’, ‘flat and green‘, ‘red lift matte’ and ‘vintage instant’ out of the Adobe Lightroom filter presents of filters. I also focused on increasing the texture, whites, blacks and shadows in my black and white images to create a high contrast between black and white. But my coloured images I focused o lowering the highlight and blacks and increasing the contrast.
Comparisons.
HELMUT NEWTONMY IMAGEHELMUT NEWTONMY IMAGEHELMUT NEWTONMY IMAGE
I attempted to recreate some of Helmut Newton’s images by reinterpreting his model’s poses and body language. Such as legs crossed over, lying down on the floor and peering out into a keyhole. However, I like how my images differ to his images by the furniture and background setting being slightly different and more modern. The outfits are also more up-to-date and fashionable in the modern day world and could be potentially used in a modern day magazine, as opposed to a old-fashioned photoshoot from the 1960’s-70’s. To improve on this photoshoot, I would have liked to have done more outside images as many of Helmut Newton’s fashion images are recorded outside. I would also have liked to go to more inside locations with different styles and genres of rooms and interior design. I feel this variety of locations would add more interest and value to my shoot. I would also like to have experimented with more outfits instead of my models wearing the same outfits in virtually all photos. This would have created more of a fashion magazine vibe with all 3 models in different makeup, hair and outfits for different shots. I would have liked to have had better lighting inside. I could’ve done this by providing a ring light or a light source which would be move into different angles and perspectives for my images to have been of a higher quality. However, overall I believe this photo-shoot was successful as I have achieved images in inspiration to Helmut Newton with a fashion magazine style interpretation.
Literary sources: Go to this blog post here: Theory: Literary Sources and copy relevant key texts relating to the subject of your essay and list in alphabetical order in your bibliography. In addition, find your own key texts in relation to artists selected for in-depth analysis in your essay and list these too. These texts could be interviews with the artist, or reviews/ critique’s written by others. See useful online sites/ sources here .
Research and identify 3-5 literary sources from a variety of media such as books, journal/magazines, internet, Youtube/video that relates to your personal study and artists references .
Begin to read essay, texts and interviews with your chosen artists as well as commentary from critics, historians and others.
It’s important that you show evidence of reading and draw upon different pints of view – not only your own.
Take notes when you’re reading…key words, concepts, passages, page number to be used for in-text referencing etc.
Essay Question
Think of a hypothesis and list possible essay questions
Below is a list of possible essay questions that may help you to formulate your own.
Some examples of Personal Study essays from previous students:
Essay Plan Make a plan that lists what you are going to write about in each paragraph – essay structure
Essay question:
How have concepts of childhood, loss and memory been explored in the photo books of Yury Toropstov and Laia Abril?
In what wat is identity and autobiography expressed in the work of Chino Otsuka and Tom Hunter?
In what way does Justine Kurland and Michelle Sank explore youth and femininity through their work?
To what extend is autobiography explored in the work of Jim Goldberg and Jo Spence?
Opening quote
Introduction (250-500 words): What is your area study? Which artists will you be analysing and why? How will you be responding to their work and essay question?
Pg 1 (500 words): Historical/ theoretical context within art, photography and visual culture relevant to your area of study. Make links to art movements/ isms and some of the methods employed by critics and historian.
Pg 2 (500 words): Analyse first artist/photographer in relation to your essay question. Present and evaluate your own images and responses.
Pg 3 (500 words): Analyse second artist/photographer in relation to your essay question. Present and evaluate your own images and responses.
Conclusion (250-500 words): Draw parallels, explore differences/ similarities between artists/photographers and that of your own work that you have produced
Bibliography: List all relevant sources used –
Wells L. (1998). ‘The Photographic Gaze’ in Photography: A Critical Introduction. London: Routledge.
To what extend is autobiography explored in the work of Jim Goldberg and Jo Spence?
Opening quote: use something Goldberg or Spence has said from any of the key text in your bibliography
Autobiography, as a theme in contemporary art, allows artists to reflect on and question the intersection of personal experience with broader social, political, and cultural contexts. In the work of photographers Jim Goldberg and Jo Spence, autobiography is explored not merely as a form of self-reflection but as a tool for social critique and identity construction. While both artists engage deeply with their personal lives, their approaches diverge significantly in terms of methodology, subject matter, and intent. Goldberg’s work blends documentary photography with personal narrative, using text to reveal the intimate relationships between himself and his subjects, thus embedding his autobiography within a larger social commentary on class, power, and marginalization. On the other hand, Jo Spence’s autobiographical exploration is overt and personal, often focusing on her own body and health, particularly through her struggle with breast cancer. Spence uses photography as a means of self-representation and self-exploration, engaging in a performative act of reclaiming her identity in the face of illness and societal expectations. This essay will examine how Goldberg and Spence each explore autobiography in their work, considering the ways in which they both navigate the personal and the political, and how their approaches contribute to a broader conversation about the role of the self in art.
My area of study is into identity, mainly focusing on how you can present yourself differently to everyone and looking into the anxieties of a teenage girl, especially in my life.
I will be analysing Jim Goldberg and Jo spence in this essay, I am looking into them as they also do a lot on identity. Jim Goldberg mainly as a child, and jo spence into womanhood, I also like their creative aspects to their photography that I hope to also use. I will be responding to their work by making some similar photos which I will later use as a comparison, i will the respond to this essay question by first giving my introduction on them both, then having a paragraph each to how autobiography is especially explored in both their work, then maybe having paragraphs on similarities and differences and finish with a conclusion.
Essay Paragraph 1 (draft)
Historical/ theoretical context within art, photography and visual culture relevant to your area of study. Make links to art movements/ isms and some of the methods employed by critics and historian.
The primary theme jotted down in a life writing is to give life and include autobiographical statements on photography works done by Jim Goldberg and Jo Spence and the general drift in photography and visual culture towards the personal narrative and subjective experience. During the 1970s and 1980s, the artists’ practices were largely identified with the postmodernists, who were always critiquing the aspect of objectivity and universal truth within the realm of art. Photographs as self testaments through Rich and Poor (Goldberg 1985) or through The Picture of Health? (Spence 1982-86) reveal photography as a medium to discuss identity, class, and the politics of representation. “I was politicized by my own experiences. I use photography as a means of exposing and dealing with the hidden politics of everyday life, including my own.” – Jo Spence. While both referring to the traditions of documentary photography and conceptual art, they interrogate the power relations in image-making, reminiscent of what theorists wrote about photography claiming neutrality and truth. This is because by integrating a handwritten text with the portrait, Goldberg found an interpretative space within which to situate both image and subject, while including genealogies of feminist critique and psychoanalysis in an autobiographical view, drawing a portrait of many critical experiences in the lives of these authors. “My work is a collaboration with the people I photograph. Their words, their voices, are as important as the image itself.” – Jim Goldberg. In other words, both artists, through their personal experiences, render the self an object of contestation, critique, and ultimately, alternative approaches to autobiographical writing in visual culture challenge the traditional narratives surrounding it. This personal-contextualization is what then situates their work in the line of a socially engaged art: in history, using methodologies adopted by historians and critics that value context and ideology over form.
To what extent have Anna Gaskell and Duane Michals explored narrative in their work.
“Trying to combine fiction, fact and my own personal mishmash of life into something new is how I make my work. . .. I try to insert a degree of mystery that ensures that the dots may not connect in the same way every time.”—Anna Gaskell, in NMWA’s See for Yourself card
Both Anna Gaskell and Duane Michal’s explore storytelling and narrative through the medium of photography. I intend to compare, analyse and explore the differing ways they both accomplish coherent and clear narrative through the use of aesthetically interesting images and sequences in order to better understand the art of storytelling. I have chosen Anna Gaskell as a primary focus because of her alternative and dynamic photography focusing on retelling darker and more uncomfortable sides of children’s stories, for example her re-telling of Alice in Wonderland. Her images are disturbing and beautiful on their own but combined tell chilling interpretations of recognizable childhood favourites. My interest in Duane Michals is similar as his work relies on a sequence of images, that appear inconspicuous but when put together create a sense of alienation and disequilibrium. He uses the philosophy that audiences will ‘see what they want to see’(Michals year: page no? reference source using Harvard system)and believes that literal appearances are unimportant in comparison to the portrayal of the narrative he is trying to convey. This is important for me to understand to create a well-established re-interpretation of Jersey’s urban legends that is disturbing, beautiful and clear in its intentions.
Gregory Crewdson, Twilight, 1998
Pictorialism and Tableaux Photography
To better understand the concepts of how narrative was explored historically I will investigate when people who first began using photography as an expression of the self rather than a scientific means of recording a moment in time. This leads me to tableaux photography – a style of photography where people are posed in a constructed environment in order to convey a pictorial narrative through a single image, in contrast to photojournalism and documentary photography that make use of series of images in telling stories. Tableaux photography often refers to fables, fairy tales, myths and real-life events as inspiration for recreation, and in this aspect Anna Gaskell draws strongly from the original tableaux photography in her own more modern interpretation. However, tableaux photography depends greatly on the interpretation of the viewer and is often very ambiguous and open-ended recreations of subjective themes. Its origin began with Pictorialism, developed first in the 1870’s. ‘the pictorial image aims to render the real as an ideal; composition should have an idea; meaning’. (author’s surname year: page no? reference source using Harvard system)
Early pictorialist photographers set off through international competitions, exhibitions and publications modelled after the art salon system, often using established painters among the judges. The pictorialist perspective was born in the late 1860s and remained extremely relevant through the first decade of the 20th century. Pictoralist photographers at the time aimed to use the camera as a tool in the same sense as a paintbrush or chisel could be used to convey artistic statements, it was their belief that the camera could be used in a similar manner. Peter Henry Emerson who was born on the 13th of May 1856 and later died on the 12th May 1936 at 80 years old was a British writer and photographer. His photographs are considered to be early examples of promoting pictorialist sensibilities as an art form. He is renowned for taking beautiful photographs that displayed bucolic settings and more relevantly his disagreements with the photographic establishment about the purpose and meaning of photography. Emerson’s book Naturalistic Photography (1889) was incredibly influential in the last years of the 19th century. Its message reached American and European photographers who began to follow its principles and by organizing associations and exhibitions in effort to show that that photography was capable of producing beauty and expressiveness.
During this strive for photography’s conversion from classical and scientifically documentation to a valued art form, photographers experimented by manipulating images in darkrooms, scratching and marking prints in order to imitate the texture present in canvas paintings, creating blurred images on soft focus to create fuzzy images based on religious and spiritual subject matter, influenced by allegorical paintings. Allegory is a figurative representation of conveying subjective and symbolic figures, using underlying moral ,social ,religious themes and commentary’s, personifying abstract themes such a greed, sloth, charity and envy.
Duane Michals
Duane Michals who is lovingly referred too as the father of conceptual photography revolutionised photography in the 1960s by separating himself from traditional documentary and fine art approaches by using innovative techniques that incorporate handwritten messages , poems and multiple frame sequences in order to covey his narrative or ‘story’ through images. ‘Michals manipulated the medium to communicate narratives'(1). Michals work frequently explore themes of identity, desire and the human experience through a subjective and conceptual lens. Michals takes the classic themes from what began as tableaux or pictorialist photography of religion and morality and pioneered his own form of telling individual and intellectual narratives, turning his back to established traditions of documentary and fine art photography, instead of falling into the shadow of respected masters of fine art photography Ansel Adams, Henri Cartier-Bresson and the like. Michal’s creates sequences of multiple images to convey compelling and queried inducing visual stories. ‘ He has always considered himself to be a storyteller.'(2) Michals found himself inspired by the surrealist painter Rene Magritte who challenged viewers perceptions of reality with witty and thought provoking images, and in his like began experimenting with double or triple exposures in order to expand the meaning and interoperability of his subject.
Rene Magritte
Duane Michals (American, b. 1932) Sting 1982
When looking at Michals photography it is very important to consider that his images are typically created to be a singular image in a sequence of many, but when looking that the individually, it is clear to me he typically stylises his images as black and white photographs with high exposer and a wide lens. In this particular image Michals utilises butterfly lighting to create sharp idealistic lines across the face to accentuate the models features as ‘beautiful’ to contrast with a skeletal figure looming behind him, highlighted by the dramatic lighting and deeply contrasting shadows and highlights throughout the photograph. Duane Michals is thought to be ‘rejecting the notion of the “decisive movement,” the supremacy of the sensational singular image, and the glorification of the perfect print'(3) as he regularly aims to capture images mid motion or slightly ‘fuzzy’ in order to portray a moving and compelling narrative.
“Photography is essentially an act of recognition by street photographers, not an act of invention. Photographers might respond to an old man’s face, or an Arbus freak, or the way light hits a building—and then they move on. Whereas in all the other art forms, take William Blake, everything that came to that paper never existed before. It’s the idea of alchemy, of making something from nothing.”(4) ― Duane Michals
keeping this in mind when we begin to look at anna Gaskells work and influences we begin to see many similarities in active story telling, Gaskells photographs are often created to represent motion and action, using this similar idea of movement captured within the photograph, using awkward mid movement posing, in contrast with Michals work her photos are clear and in focus.
Gaskell is best known for her photographic series that she calls “elliptical narratives”, which are considerably similar to Cindy Shermans photography. Gaskell’s photographs are inspired by film and painting, rather than the typical conventions of photography in a similar fashion to Shermans photography
Untitled #574 by Cindy Sherman, 2016.
A series of photos that is intriguingly similar to Duane Michals photography is her series Turns Gravity where the images follow faceless youthful figures playing and exploring a woodland setting, this series of images is intriguingly ambiguous when compared to some of her other photo series that are clearly and intentionally inspired by childhood stories with dark and twisted underlying themes. these subjective or ‘ambiguous’ themes are closely related to the interpretability recognised in pictorialism photography and Michals photo series’ she uses tight framing and dramatic staging to distort the figures features as well as a shocking colour scheme encouraged by Gaskell Dressing the boys in black and White. In this series much like most of Gaskells work, their are brief and intense flashes of violence throughout, this in combination with the anonymity of the central figures and the overall mystery of the driving themes this creates a tense and foreboding feeling when viewing the series.
unlike Michal’s, Gaskells photographs are not taken to be viewed in a certain order ‘With no set order to the images, they can form entirely new stories with each change of sequence, inviting the viewer to interpret the enigmatic events of each narrative.'(5), her images can be reconfigured to create entirely new narratives depending on the viewer’s interpretation.
“The stories and events that I choose to use as jumping-off points are simply that. They are only a part of what goes into the work, and perhaps a useful reference for viewers,” she explained. “Trying to combine fiction, fact, and my own personal mishmash of life into something new is how I make my work.”(6)
I believe although influences are different between the artists with Michal’s drawing influence from his own fantasy’s and personal perceptions, and Gaskell drawing influence from traditional and recognisable children’s literature they both make considerable efforts to insert themselves into their photographic series, while Duane’s series’ rely entirely on the viewers perceptions and interpretations in his belief that imagination is far more significant than real life’ believe in the imagination. What I cannot see is infinitely more important than what I can see.'(7) Gaskell uses recognisable situations and stories for the viewer to identify and consider when deconstructing the intentions and narratives behind her photo series’ however both photographers utilise a sense of unidentifiability and ambiguity to covey the stories they are trying to emanate.
Both of their accomplished and recognised abilities to portray clear and unique narratives through photography relies on them building a structure and aesthetic whether that’s a wide camera lenses and slow shutter speed in Michal’s case or Gaskells intentional cropping a posing that directs the viewer to their conclusion, whether it was the photographers intended conclusion or otherwise.
Bibliography
1=thephotographicjournal.com. (n.d.). Duane Michals. [online] Available at: https://thephotographicjournal.com/interviews/duane-michals/.
2=Carnegie Museum of Art. (2024). Storyteller: The Photographs of Duane Michals. [online] Available at: https://carnegieart.org/exhibition/storyteller-the-photographs-of-duane-michals/ [Accessed 2 Feb. 2025].
3=Popular Photography. (2019). Interview: Duane Michals on 50 Years of Sequences and Staging Photos. [online] Available at: https://www.popphoto.com/american-photo/interview-duane-michals-50-years-sequences-and-staging-photos/.
5=Zhang, J. (2014). Intriguingly Ambiguous Visual Narratives by Anna Gaskell. [online] My Modern Met. Available at: https://mymodernmet.com/anna-gaskell-turns-gravity/ [Accessed 4 Feb. 2025].
6=Artnet.com. (2023). Available at: https://www.artnet.com/artists/anna-gaskell/.
How successful was your photoshoot and experimentation?
This photoshoot I focused on colour, and unique compositions that are revealed when captured from an abstract angle/approach. I achieved this by capturing photographs from particular view points – close-up shot, to more far away views. For each photo I had in mind the compositions and how I could achieve a unique, unusual angles from this. I further experimented with cropping the photos, to further make the photo unrecognisable through this very abstract angle. I wanted to achieve this effect, where only colour was visible, further defined by the lines, patterns, silhouettes and structured of outlines and shadows. To achieve this effect I chose certain areas from the original, which I though could be interesting and could achieve different focal points. This means that different details and features of the photo could be visible further creating interesting/ in-depth character.
What references did you make to artists references? – comment on technical, visual, contextual, conceptual?
How are you going to develop your project from here? – comment on research, planning, recording, experimenting.
To develop this further, I am going to focus more on the angles I use when I capture the photo, paying close attention to the the formations/ shapes and patterns, then capturing from angles in a similar way. I feel this will enhance the details further creating very gripping and engaging images, as I following the same effects.
What are you going to do next? – what, why, how, when, where?
I am going to capture more interesting angles found from unique compositions I find
For this photoshoot, I focused on modern buildings, specifically on the water front as they are high-rise. I attempted to photograph these buildings in a way that is abstract, capturing the shapes and textures of the buildings. This is the route I walked:
Question: How is feminism and identity manipulated through the evolution of social media?
Literary sources: Go to this blog post here: Theory: Literary Sources and copy relevant key texts relating to the subject of your essay and list in alphabetical order in your bibliography. In addition, find your own key texts in relation to artists selected for in-depth analysis in your essay and list these too. These texts could be interviews with the artist, or reviews/ critique’s written by others. See useful online sites/ sources here .
Research and identify 3-5 literary sources from a variety of media such as books, journal/magazines, internet, Youtube/video that relates to your personal study and artists references .
Begin to read essay, texts and interviews with your chosen artists as well as commentary from critics, historians and others.
It’s important that you show evidence of reading and draw upon different pints of view – not only your own.
Take notes when you’re reading…key words, concepts, passages, page number to be used for in-text referencing etc.
Essay Plan Make a plan that lists what you are going to write about in each paragraph – essay structure
Essay question: How is feminism and identity manipulated through the evolution of social media?:
Introduction (250-500 words):What is your area study? Which artists will you be analysing and why? How will you be responding to their work and essay question?
Pg 1 (500 words):Historical/ theoretical context within art, photography and visual culture relevant to your area of study. Make links to art movements/ isms and some of the methods employed by critics and historian.
Feminism waves
Pg 2 (500 words): Analyse first artist/photographer in relation to your essay question. Present and evaluate your own images and responses.
Justine Kurland: how she has constructed her images in Girlhood:
staging images using models/ runaways based on on her own girlhood experiences
consider her own female gaze
staging her staging of images taking inspiration from history painting, eg. Manet’s Le Déjeuner sur l’herbe
female gaze on the female body
Pg 3 (500 words): Analyse second artist/photographer in relation to your essay question. Present and evaluate your own images and responses.
Conclusion (250-500 words): Draw parallels, explore differences/ similarities between artists/photographers and that of your own work that you have produced
Bibliography:List all relevant sources used
Literary sources:
Kotz, L. (1998) ‘”Aesthetics” of Intimacy’ in Bright, D. (1998) The Passionate Camera: Photography and bodies of desire. London: Routledge
van Zoomen, L. (2019). ‘Feminist Theory’ in Dixon, M. Media Theory for A-Level Students. London: Routledge.
For my first personal study photoshoot, I gathered 4 of my friends and we decided to go to St Catherine’s woods to recreate similar scenes to Justine Kurland. As the location of this shoot was based outside in nature areas, this did narrow down the chances of me getting photos inspired by Ramona Wang as none of her images were taken in nature areas. Despite this, as Kurland is known for her dreamlike, utopian depictions of freedom, I carried out a photoshoot that sought to capture a similar idea of community and the beauty of nature through using my own friends as subjects, displaying a close relationship with one another. The main objective of this shoot was to create my own series of images portraying a group of young females in a natural environment. Rather than staging conventional portraits, I wanted to allow my subjects to interact with each other and the setting around them in attempt for my images to look raw and natural. Inspired by the earthy tones and soft focus of Kurland’s work, I chose a dark and muted colour palette with hints of vibrancy, so the contrast between the subjects and the location is seen.
Mon 3 – Thurs 6 Feb: 2 days = 10 hours controlled test Photography classroom + Photography studio Groups: 13C and 13A: MON 3 – TUE 4 FEB 13D: WED 5 – THURS 6 FEB
DEADLINE: LAST DAY OF YOUR MOCK EXAM ESSAY > PHOTOBOOKS / FILM > BLOG POSTS
IN PREPARATION FOR MOCK EXAM MAKE SURE THE FOLLOWING IS READY BY THE END OF THIS WEEK:
Complete and proof read essay by Friday 31 Jan and publish on blog (so there is enough time to present it into book design in Mock exam.)
Upload new photoshoots and complete final edit in Lightroom – make sure to produce blog posts showing selection process and experimentation of images.
A draft layout of your photobook/ rough cut of film edit before your Mock Exam begin (that time is used to fine tune design with teacher’s approval)
Review Checklist on blog for overview of work that must be completed.
Go through Go4School Tracking Sheet (sent in email on 17 Jan) and improve, complete and publish missing blogposts.
Structure your 2 day Mock Exam as follows:
DAY 1: Essay: If needed, complete any final adjustments to essay, incl illustrations, referencing and bibliography + publish on blog.
Photoshoots/ recordings: Complete editing images or recordings for your photobook / film + produce blog posts showing selection process and experimentation of images. Use a combination of print screens + annotation. Write an evaluation about what went well and what you need to do next to develop your shoots and project.
DAY 2 Photobook/ film: Complete photobook design/ edit film + produce blogpost showing design process and evaluate. Produce a blog post showing layout and design process using a combination of print screens + annotation. Add essay and present at the end of your book.
Prints: Select final prints and produce blog post showing presentation ideas and create mock-up in Photoshop and create a virtual gallery. Make sure you save final images in print folder here by end of the day:
Blogposts: Finish and publish any missing blog posts as per Checklist and your Go4School Tracking sheet.
ESSAY Publish final essay as a separate blog post with illustrations of key works by artists and your own images analysed in your text, as well as a bibliography listing all literary sources used. Also incorporate essay in the back of your book using layout in text columns and include illustrations and bibliography.
Marking Criteria
PHOTOBOOK Make sure you have a made a blog post that charts your design decisions, including prints screens of layout with annotation and write an ongoing evaluation. If you complete it; final book design must be checked and signed off by teacher.
For more help and guidance editing, process and evaluation go to blog post below.
BLURB – Upload pdf to Book Once your final design has been signed off by the teacher follow these steps to upload book as a PDF to Blurb.
1. In Lightroom top right corner click drop-down menu in Blurb Photo Book and choose PDF. Make sure you increase JPEG Quality to 100 %.
2. In bottom right corner click button: EXPORT BOOK to PDF
3. Save PDF as filename: PHOTOBOOK in folder in your student folder on M:drive.
4. Move PDF file: PHOTOBOOK toOne Drive in Office 365.
5. At home download above file from One Drive and save on your personal computer.
6. Log into your BLURB account (www.blurb.co.uk)
7. In top menu bar click on Design Tools and choose PDF to Book in drop down menu.
8. Click on button: Upload PDF
9. Upload your PDF files. Cover PDF: Click to choose a file or drag and drop one here Pages PDF: Click to choose a file or drag and drop one here
10. Once uploaded, choose paper, either Premium Lustre or Premium Matte and choose cover, either Hardcover, Image wrap or Soft cover.
11. Select either Logo on white page or Logo on black page. IT cost you more if you choose no logo.
12. Type Title of your book and Author’s name (your name)
13. Click button: Upload to Blurb and go to check-out and order your photobook (you need either debit or credit card)
BLURB – ORDER BOOK Inside Lightroom upload book design to BLURB, log onto your account on their website, pay and order the book.
Consider spending a few extra pounds on choosing better paper, such as Premium Lustre in check-out, change colour on end paper or choose different cloth/ linen if needed.
FILM Make sure you have a made a blog post that charts your editing process, including prints screens with annotation and write an evaluation. If you complete it; final film must be checked and signed off by teacher.
For more help and guidance on editing, process and evaluation go to blog post below.
Export final film as mp4 file and upload to Youtube / Microsoft Streams and embed on Blog. Follow these steps:
In Premier: Click on Sequence > Render IN/OUT
File > Export > Media
Export Settings: Format H.264
Output Name: use title of your film and save to V:Data drive
Click Export at bottom
Using Microsoft Stream: Open up Office 365
Go to All Apps and select Stream
Create > Upload Video
Browse to upload your exported film from V:Data drive
Write a short description, choose thumbnail and publish
My Content > Videos > embed film into Blog post with evaluation.
In Youtube: Set up an account at home (www.youtube.com)
Click Create (top right corner) > Upload video
Select file > your exported film from V:Data drive
Write a short description and choose thumbnail
Once uploaded, embed film into Blog post with evaluation.
BLOGPOSTS All blog posts in relation to the above must be published, including any other supporting posts missing from previous work modules since the beginning of Yr 13 academic year, including zines which must be printed & bound, Hockney ‘joiners’, 3D photo-sculpture and final prints.
See previous student, Stanley Lucas as a guide on blogposts that needs to be done and published before you the end of your Mock Exam.
EVALUATION: Upon completion of photobook/ film and presentation of prints make sure you evaluate and reflect on your learning and final outcomes. Comment on the following:
How successful was your final outcomes (book, film, prints etc)?
Did you realise your intentions?
What references did you make to artists references? comment on technical, visual, contextual, conceptual?
FINAL PRINTS Select your final prints (5-7) from photobook/ film and make a blog post showing ideas about how to present them.
In photoshop produce a mock display (create new document size A1: 594 x 841mm) using different image sizes, for example: A3 x 2, A4 x 2, A5 x 3
PREPARE AND SAVE IMAGES FOR PRINTING:
Add your images to the print folder here…M:\Radio\Departments\Photography\Students\Image Transfer\Yr 13 NEA 2025
Complete any unfinished work from last term if you have time, For example: select images for print form Zine/ St Helier and/or St Malo project.
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
Ensure you label and save your file in you M :Drive and then copy across to the PRINT FOLDER:
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.
Making a Virtual Gallery in Photoshop
Download an empty gallery file…then insert your images and place them on the walls. Adjust the perspective, size and shape using CTRL T (free transform) You can also add things like a drop shadow to make the image look more realistic…
PRACTICAL WORK: This term you have 4 weeks to complete all coursework, including essay and photobook or film. This include all relevant blog posts demonstrating your knowledge and understanding of: RESEARCH > ANALYSIS > PLANNING > RECORDING, EXPERIMENTATION > PRESENTATION > EVALUATION.
DEADLINE: MUST complete final photo-shoots/ moving image recordings by FRI 24 JAN 2025
ESSAY: We will continue to spend at least 1 lesson a week on CONTEXTUAL STUDIES where you will be learning about critical theory, photo history and contemporary practice as well as developing academic study skills to help you writing your essay. However, it is essential that you are organising your time effectively and setting aside time outside of lessons to read, study and write.
DEADLINE: Final essay MUST be handed in FRI 31 JAN 2025
PHOTOBOOK / FILM: Returning after Christmas we will be spending the whole month of January developing, designing and printing the photobook which will include your essay and somewhere between 30-50 images sequenced to tell a story. For those making a film you will spend January editing moving images and sound in Premiere.
MOCK EXAM: 3 – 6 Feb 2025. 2 days controlled test (10 hours) Groups: 13C and 13A: MON 3 – TUE 4 FEB 13D: WED 5 – THURS 6 FEB
DEADLINE: Completion of photobook or film LAST DAY OF YOUR MOCK EXAM.
Week 16: 6 – 12 Jan PHOTOBOOK: Editing photoshoots FILM: Editing footage and sound ESSAY: Introduction
PHOTO-SHOOTS:Lessons Mon 6 – Fri 12 Jan Upload new images from to M:drive and begin to edit in Lightroom. Follow these instructions:
EDITING:
Save shoots in folder and import into Lightroom
Organisation: Create a new Collection from each new shoot inside Collection Set: PHOTOBOOK
Editing: select 8-12 images from each shoot.
Experimenting: Adjust images in Develop, both as Colour and B&W images appropriate to your intentions
Export images as JPGS (1000 pixels) and save in a folder: BLOG
Create a Blogpost with edited images and an evaluation; explaining what you focused on in each shoot and how you intend to develop your next photoshoot.
Make references to artists references, previous work, experiments, inspiration etc.
Prep for photobook design: Make a rough selection of your 40-50 best pictures from all shoots. Make sure you have adjusted and standardised all the pictures in terms of exposure, colour balance.
EVALUATING: Upon completion of photoshoot and experimentation, make sure you evaluate and reflect on your next step of development. Comment on the following:
How successful was your photoshoot and experimentation?
What references did you make to artists references? – comment on technical, visual, contextual, conceptual?
How are you going to develop your project from here? – comment on research, planning, recording, experimenting.
What are you going to do next? – what, why, how, when, where?
ESSAY Follow these instructions:
Essayintroduction: convert draft introduction to final version.
Think about an opening that will draw your reader in e.g. you can use an opening quote that sets the scene. Or think more philosophically about the nature of photography and its feeble relationship with reality.
You should include in your introduction an outline of your intention of your study, e.g.
What are you going to investigate?
How does this area/ work interest you?
What are you trying to prove/challenge, argument/ counter-argument?
Whose work (artists/photographers) are you analysing and why?
What historical or theoretical context is the work situated within?
What links are there with your previous studies?
What have you explored or experimented with so far in your photography project?
How will your work develop.
What camera skills, techniques or digital processes have you used, or going to experiment with?
Below is link to a blog post which will provide you with helpful guidelines if you are struggling to structure your essay or writing paragraphs.
PHOTOBOOK: Lessons Mon-Wed Produce a number of blogposts that show evidence of the following:
1. Research a photo-book and describe the story it is communicating with reference to subject-matter, genre and approach to image-making.
2. Who is the photographer? Why did he/she make it? (intentions/ reasons) Who is it for? (audience) How was it received? (any press, reviews, awards, legacy etc.)
3. Deconstruct the narrative, concept and design of the book and apply theory above when considering:
Book in hand: how does it feel? Smell, sniff the paper.
Paper and ink: use of different paper/ textures/ colour or B&W or both.
Format, size and orientation: portraiture/ landscape/ square/ A5, A4, A3 / number of pages.
Title: literal or poetic / relevant or intriguing.
Narrative: what is the story/ subject-matter. How is it told?
Structure and architecture: how design/ repeating motifs/ or specific features develops a concept or construct a narrative.
Design and layout: image size on pages/ single page, double-spread/ images/ grid, fold- outs/ inserts.
Editing and sequencing: selection of images/ juxtaposition of photographs/ editing process.
Images and text: are they linked? Introduction/ essay/ statement by artists or others. Use of captions (if any.)
UNDERSTANDING PHOTOBOOKS: NARRATIVE, EDITING, SEQUENCING, DESIGN, FORM, FUNCTION
Earlier in the academic year we looked at narrative in photography. Let’s refresh our memory and revisit some of the theories around visual storytelling.
Narrative is essentially the way a story is told. For example you can tell different narratives of the same story. It is a very subjective process and there is no right or wrong. Whether or not your photographic story is any good is another matter.
Narrative is constructed when you begin to create relationships between images (and/or text) and present more than two images together. Your selection of images (editing) and the order of how these images appear on the pages (sequencing) contributes significantly to the construction of the narrative. So too, does the structure and design of the photo-zine or photobook.
However, it is essential that you identity what your story is first before considering how you wish to tell it. Planning and research are also essential to understanding your subject and there are steps you can take in order to make it successful. Once you have considered the points made between the differences in narrative and story complete the following:
CASE-STUDIES: Let’s explore some examples of images used in photo-essays and photobooks and see if we can identify the story as well as examine how narrative is constructed through careful editing, sequencing and design.
PHOTO-ESSAY: The life of a country doctor in Colorado’s Rocky Mountains
“A photo is a small voice, at best, but sometimes – just sometimes – one photograph or a group of them can lure our senses into awareness. Much depends upon the viewer; in some, photographs can summon enough emotion to be a catalyst to thought”W. Eugne Smith
W. Eugene Smith compared his mode of working to that of a playwright; the powerful narrative structures of his photo essays set a new benchmark for the genre. His series, The Country Doctor, shot on assignment for Life Magazine in 1948, documents the everyday life of Dr Ernest Guy Ceriani, a GP tasked with providing 24-hour medical care to over 2,000 people in the small town of Kremmling, in the Rocky Mountains. The story was important at the time for drawing attention to the national shortage of country doctors and the impact of this on remote communities. Today the photoessay is widely regarded as representing a definitive moment in the history of photojournalism.
Here is a Powerpoint with more information about how to construct a Traditional Picture Story that includes individual images such as:
Person at Work
Relationship Shot
Establishing Shot
Detail shot
Environmental Portrait
Formal Portrait
Observed Portrait
Here is a link to an entry for Percival Dunham considered Jersey first photojournalist for a very brief period in 1913 and 1914, when he worked for Jersey Illustrated Weekly and then the Morning News, the main competitor for many years for the Evening Post (now the Jersey Evening Post and the island’s only daily newspaper for over half a century). Try and identity individual images as above from a selection of prints from the Societe Jersiaise Photographic Archive that holds over 1000 images by Percival Dunham in their collection.
Select somewhere between 12-15 images from the set and edit and sequence them to construct a specific narrative.
Record an image of your sequence and produce a blogpost where you describe the above process.
PHOTOBOOKS: In October of 1958, French publisher Robert Delpire released Les Américains in Paris. The following year Grove Press published The Americans in New York with an introduction by American writer, Jack Kerouac (the book was released in January 1960).
Like Frank’s earlier books, the sequence of 83 pictures in The Americans is non-narrative and nonlinear; instead it uses thematic, formal, conceptual and linguistic devices to link the photographs. The Americans displays a deliberate structure, an emphatic narrator, and what Frank called a ‘distinct and intense order’ that amplified and tempered the individual pictures.
Although not immediately evident, The Americans is constructed in four sections. Each begins with a picture of an American flag and proceeds with a rhythm based on the interplay between motion and stasis, the presence and absence of people, observers and those being observed. The book as a whole explores the American people—black and white, military and civilian, urban and rural, poor and middle class—as they gather in drugstores and diners, meet on city streets, mourn at funerals, and congregate in and around cars. With piercing vision, poetic insight, and distinct photographic style, Frank reveals the politics, alienation, power, and injustice at play just beneath the surface of his adopted country.
Since its original publication, The Americans has appeared in numerous editions and has been translated into several languages. The cropping of images has varied slightly over the years, but their order has remained intact, as have the titles and Kerouac’s introductory text. The book, fiercely debated in the first years following its release, has made an indelible mark on American culture and changed the course of 20th-century photography. Read article by Sean O’Hagan in The Guardian
MORE PHOTOBOOKS: A few photobooks dealing with memory, loss and love
I went back to Russia to visit the places containing scattered vestiges of my father’s memory.
On a mission to photograph the invisible, with Deleted Scene photographer Yury Toroptsov takes us to Eastern Siberia in a unique story of pursuit along intermingling lines that form a complex labyrinth. His introspective journey in search of a father gone too soon crosses that of Akira Kurosawa who, in 1974, came to visit and film that same place where lived the hunter Dersu Uzala.
Yury Toroptsov is not indifferent to the parallels between hunting and photography, which the common vocabulary makes clear. Archival documents, old photographs, views of the timeless taiga or of contemporary Siberia, fragments or deleted scenes are arranged here as elements of a narrative. They come as clues or pebbles dropped on the edge of an invisible path where the viewer is invited to lose himself and the hunter is encouraged to continue his relentless pursuit.
Dealing with the grief that the photographer suffered following the death of her mother, Where Mimosa Bloom by Rita Puig Serra Costatakes the form of an extended farewell letter; with photography skillfully used to present a visual eulogy or panegyric. This grief memoir about the loss of her mother is part meditative photo essay, part family biography and part personal message to her mother. These elements combine to form a fascinating and intriguing discourse on love, loss and sorrow.
“Where Mimosa Bloom” is the result of over two years work spent collecting and curating materials and taking photographs of places, objects and people that played a significant role in her relationship to her mother. Rita Puig Serra Costa skillfully avoids the dangerous lure of grief’s self-pity, isolationism, world-scorn and vanity. The resonance of “Where Mimosa Bloom” comes from all it doesn’t say, as well as all that it does; from the depth of love we infer from the desert of grief. Despite E.M.Forster’s words – “One death may explain itself, but it throws no light upon another” – Rita Puig Serra Costa proves that some aspects of grief are universal, or can be made so through the honesty and precision with which they are articulated.
I received a text message. “Today, our divorce was finalized.” The message from my mother was written simply, even though she usually sends me messages with many pictures and symbols. I remember that I didn’t feel any particular emotion, except that the time had come. Because my parents continued to live apart in the same house for a long time, their relationship gently came to an end over the years. It was no wonder that a draft blowing between the two could completely break the family at any time.
In Japan, legend has it that a man and woman who are predestined to meet have been tied at the little finger by an invisible red string since the time they were born. Unfortunately, the red string tying my parents undone, broke, or perhaps was never even tied to begin with. But if the two had never met, I would never have been born into this world. If anything, you might say that there is an unbreakable red string of fate between parent and child.
Before long, I found myself thinking about the relationship between my parents and . How many days could I see my parents living far away? What if I couldn’t see them anymore? Since I couldn’t help feeling extremely anxious about it, I was driven to visit my parents’ house many times. Every day I engage in awkward conversation with my parents, as if in a scene in their daily lives. I adapt myself to them, and they shift their attitude toward me. We do not give way entirely to the other side, but rather meet halfway. Indeed family problems remain unresolved, although sometimes we tell allegorical stories and share feelings. It means a lot to us that our perspectives have changed with communication.
My family will probably never be all together again. But I feel without a doubt that there is proof inside of each of us that we once lived together. To ensure that the red string that ties my family together does not come undone, I want to reel it in and tie it tight.
‘The Epilogue’ is the book about the story of the Robinson family – and the aftermath suffered in losing their 26 year old daughter to bulimia. Working closely with the family Laia Abril reconstructs Cammy’s life telling her story through flashbacks – memories, testimonies, objects, letters, places and images. The Epilogue gives voice to the suffering of the family, the indirect victims of ‘eating disorders’, the unwilling eyewitnesses of a very painful degeneration. Laia Abril shows us the dilemmas and struggles confronted by many young girls; the problems families face in dealing with guilt and the grieving process; the frustration of close friends and the dark ghosts of this deadliest of illnesses; all blended together in the bittersweet act of remembering a loved one. Read more here on Laia Abril’s website
Thurs-Fri: EssayParagraph 1 In this lesson you will write a 45 mins draft essay paragraph 1 following these steps:
Use information gathered in previous blog posts, or use hyperlinks below, in relation to Art Movement and Isms relevant to your artists references and their work.
Select at least two quotes from your literary sources that you can incorporate into your paragraph.
Your paragraph must include visual examples of artists work within that art movement that is relevant to your Personal Study.
Consider content and instructions below
Complete Paragraph 1 and upload to the blog at the end of lesson
Paragraph 1 Structure (500 words): Use subheading. This paragraph covers the first thing you said in your introduction that you would address.The first sentence introduces the main idea of the paragraph. Other sentences develop the subject of the paragraph.
Content: you could look at the following…exemplify your hypothesis within a historical and theoretical context. Write about how your area of study and own work is linked to a specific art movement/ ism. Research and read key text and articles from critics, historians and artists associated with the movement/ism. Use quotes from sources to make a point, back it up with evidence or an example (a photograph), explain how the image supports the point made or how your interpretation of the work may disapprove. How does the photograph compare or contrast with others made by the same photographer, or to other images made in the same period or of the same genre by other artists. How does the photograph relate to visual representation in general, and in particularly to the history and theory of photography, arts and culture.
Include relevant examples, illustrations, details, quotations, and references showing evidence of reading, knowledge and understanding of history, theory and context!
Week: 18: 20 – 26 Jan (Yr 12 Mock exam 20-22 Jan) ESSAY: Complete paragraph 2 & 3 (artists case studies) PHOTOBOOK: Editing & designing Photobook FILM: Editing Film
Mon – Wed: Essay Paragraph 2 & 3 You are working independently and unsupervised due to Yr 12 Mock Exams. First, go to your blog posts that you produced about your artists references and copy your research and analysis into your new essay paragraphs. You may need to re-structure or re-write some of the sentences using linking words so that they flow better in a coherent manner. You may also need to do some more research and interpret their work in relation to your essay question. Follow these steps:
Paragraph 2 Structure (500 words): Use subheading. In the first sentence or opening sentences, link the paragraph to the previous paragraph, then introduce the main idea of the new paragraph. Other sentences develop the paragraphs subject (use relevant examples, quotations, visuals to illustrate your analysis, thoughts etc)
Content: you could look at the following...Introduce your first photographer. Select key images, ideas or concepts and analyse in-depth using specific model of analysis (describe, interpret and evaluate) – refer to your hypothesis. Contextualise…what was going on in the world at the time; artistically, politically, socially, culturally. Other influences…artists, teachers, mentors etc. Personal situations or circumstances…describe key events in the artist’s life that may have influenced the work. Include examples of your own photographs, experiments or early responses and analyse, relate and link to the above. Set the scene for next paragraph.
Include relevant examples, illustrations, details, quotations, and references showing evidence of reading, knowledge and understanding of history, theory and context!
Paragraph 3 Structure (500 words): Use subheading. In the first sentence or opening sentences, link the paragraph to the previous paragraph, then introduce the main idea of the new paragraph. Other sentences develop the paragraphs subject (use relevant examples, quotations, visuals to illustrate your analysis, thoughts etc)
Content: you could look at the following…Introduce key works, ideas or concepts from your second photographer and analyse in-depth – refer to your hypothesis…Use questions in Pg 2 or add…What information has been selected by the photographer and what do you find interesting in the photograph? What do we know about the photograph’s subject? Does the photograph have an emotional or physical impact? What did the photographer intend? How has the image been used? What are the links or connections to the other photographer in Pg 2? Include examples of your own photographs and experiments as your work develop in response to the above and analyse, compare, contrast etc. Set the scene for next paragraph.
Include relevant examples, illustrations, details, quotations, and references showing evidence of reading, knowledge and understanding of history, theory and context!
PHOTO-SHOOTS:Lessons Thurs-Fri Upload new images from to M:drive and begin to edit in Lightroom. Follow these instructions:
EDITING:
Save shoots in folder and import into Lightroom
Organisation: Create a new Collection from each new shoot inside Collection Set: PHOTOBOOK
Editing: select 8-12 images from each shoot.
Experimenting: Adjust images in Develop, both as Colour and B&W images appropriate to your intentions
Export images as JPGS (1000 pixels) and save in a folder: BLOG
Create a Blogpost with edited images and an evaluation; explaining what you focused on in each shoot and how you intend to develop your next photoshoot.
Make references to artists references, previous work, experiments, inspiration etc.
Prep for photobook design: Make a rough selection of your 40-50 best pictures from all shoots. Make sure you have adjusted and standardised all the pictures in terms of exposure, colour balance.
EXPERIMENTING:
Export same set of images from Lightroom as TIFF (4000 pixels)
Experimentation: demonstrate further creativity using Photoshop to make composite/ montage/ typology/ grids/ diptych/triptych, text/ typology etc appropriate to your intentions
Design: Begin to explore different layout options using InDesign and make some page spreads for our newspaper (format: 280.5 (h) x 420 mm (w)
Alternatively design a photo-zine. Set up new document as A5 page sizes. This is trying out ideas before you begin designing photobook.
Make sure you annotate process and techniques used and evaluate each experiment
EVALUATING: Upon completion of photoshoot and experimentation, make sure you evaluate and reflect on your next step of development. Comment on the following:
How successful was your photoshoot and experimentation?
What references did you make to artists references? – comment on technical, visual, contextual, conceptual?
How are you going to develop your project from here? – comment on research, planning, recording, experimenting.
What are you going to do next? – what, why, how, when, where?
FILM:Lessons Thurs-Fri Bring footage from video/ audio recordings to lessons: Follow these instructions:
EDITING: • Save media in folder on local V:Data Drive • Organisation: Create a new project in Premiere • Editing: begin editing video/ audio clips on the timeline • Adjusting: recordings in Colour / B&W appropriate to your intentions.
EXPERIMENTING: • Video: experimenting with sequencing using relevant transitions and effects • Sound: consider how audio can add depth to your film, such as ambient sound, sound fx, voice-over, interview, musical score etc. • Title and credits: Consider typography/ graphics/ styles etc. For more creative possibilities make title page in Photoshop (format: 1280 x 720 pixels) and import as a Psd file into your project folder on the V-Data drive.
EVALUATING: Write an evaluation on the blog that reflects on your artistic intentions, film-editing process and collaboration. Include screen-prints from Premiere and a few ‘behind the scenes’ images of the shooting/ production for further annotation. Comment on the following:
How successful was your photoshoot and experimentation?
What references did you make to artists references? – comment on technical, visual, contextual, conceptual?
How are you going to develop your project from here? – comment on research, planning, recording, experimenting.
What are you going to do next? – what, why, how, when, where?
Week: 19-20: 27 Jan – 6 Feb ESSAY: complete Essay PHOTOBOOK: complete layout and design FILM: complete final edit and export film MOCK EXAM: 2 days (10 hrs) Mon 3 – Thurs 6 Feb
In the next two weeks focus on beginning to edit and collect all your images, archival material and texts, including finishing writing your essay needed to complete your photobook.
ESSAY: Thurs-Fri Complete conclusion, bibliography, proof read and hand in final draft no later than Fri 31 Jan. Follow these steps:
Conclusion (500 words): Write a conclusion of your essay that also includes an evaluation of your final photographic responses and experiments.
List the key points from your investigation and analysis of the photographer(s) work – refer to your hypothesis. Can you prove or Disprove your theory – include final quote(s). Has anything been left unanswered? Do not make it a tribute! Do not introduce new material! Summarise what you have learned. How have you been influenced? Show how you have selected your final outcomes including an evaluation and how your work changed and developed alongside your investigation.
Bibliography: List all the sources that you used and only those that you have cited in your text. Where there are two or more works by one author in the same year distinguish them as 1988a, 1988b etc. Arrange literature in alphabetical order by author, or where no author is named, by the name of the museum or other organisation which produced the text. Apart from listing literature you must also list all other sources in alphabetical order e.g. websites, exhibitions, Youtube/TV/ Videos / DVD/ Music etc.
PHOTOBOOK: Mon-Wed + MOCK EXAM Follow these steps:
You want to aim for a draft layout before the Mock Exam begins, then use the two days allocated to fine tune final layout and design.
1. Write a book specification and describe in detail what your book will be about in terms of narrative, concept and design with reference to the same elements of bookmaking as above.
Narrative:What is your story? Describe in:
3 words
A sentence
A paragraph
Design: Consider the following
How you want your book to look and feel
Paper and ink
Format, size and orientation
Binding and cover
Title
Structure and architecture
Design and layout
Editing and sequencing
Images and text
2. Produce a mood-board of design ideas for inspiration. Look atBLURB online book making website, photo books from photographers or see previous books produced by Hautlieu students on the table in class.
3. Create a BLURB account using your school email address. With Blurb you have different options on how you design your book:
a) Using Lightroom to design your book which is integrated with BLURB. Only for use on school computers, unless you have LR at home on your own laptop.
b) Download Bookwright via Blurb onto your own laptop and work offline at home and you can work indecently of school. Here you have full control of layout/ design features. Once completed, you upload photo book design to Blurb
c) Choose online option if you want to work directly online. Very limited layout/design options (not recommended!)
For those who wish to make their own hand-made photobook using Indesign follow the same steps as below in terms of documenting and annotating your design process. or if you want to customize your Blurb book see me for more details on how to do it.
4. Using Lightroom make a rough selection of your 30-50 best pictures from all shoots. Make sure you have adjusted and standardised all the pictures in terms of exposure, colour balance/ B&W, contrast/brightness etc. Produce blogpost from each shoot with selection of edited images following instructions below.
EDITING:
Save shoots in folder and import into Lightroom
Organisation: Create a new Collection from each new shoot inside Collection Set: PHOTOBOOK
Editing: select 8-12 images from each shoot.
Experimenting: Adjust images in Develop, both as Colour and B&W images appropriate to your intentions
Export images as JPGS (1000 pixels) and save in a folder: BLOG
Create a Blogpost with edited images and an evaluation; explaining what you focused on in each shoot and how you intend to develop your next photoshoot.
Make references to artists references, previous work, experiments, inspiration etc.
EXPERIMENTING:
Export same set of images from Lightroom as TIFF (4000 pixels)
Experimentation: demonstrate further creativity using Photoshop to make composite/ montage/ typology/ grids/ diptych/triptych, text/ typology etc appropriate to your intentions
Make sure you annotate process and techniques used and evaluate each experiment
5. Print a set of small work prints (4 to one A4 page) on the Laserjet, cut them up in guillotine and lay them out on the big white table for editing.
6. Decide on format (landscape, portrait) size and style of your photo-book. Begin to design your photo book, considering carefully, narrative, editing, sequencing, page spreads, juxtaposition, image size, text pages, empty pages, use of archival material etc.
7. Add your illustrated essay at the end of your photo book, including title, any captions (if needed), bibliography, illustrations of artists work (incl data) and images of your own responses. Think carefully about font type, size and weighting.
8. Produce screen prints of layout ideas as you progress and add to Blog for further annotation, commenting on page layout/ narrative/ sequencing/ juxtaposition of pictures.
9. EVALUATION: Upon completion of photobook/ film and presentation of prints make sure you evaluate and reflect on your learning and final outcomes. Comment on the following:
How successful was your final outcomes (book, film, prints etc)?
Did you realise your intentions?
What references did you make to artists references? comment on technical, visual, contextual, conceptual?
10. FINAL PRINTS: Select a set of 5-6 photographs as final outcomes and evaluate – explaining in some detail how well you realised your intentions and reflect on what you have learned in OBSERVE, SEEK, CHALLENGE project.
11. Save final prints in our shared PRINT folder (no later than 15:00 end of your Mock exam day) in a high-resolution (4000 pixels on the long edge.) Save each images in your name i.e. first name_surname_title_1, and 2, 3 and so on.
M:\Radio\Departments\Photography\Students\Image Transfer\YR13 PRINT FOLDER PERSONAL STUDY 2025
12. Virtual Gallery: Produce gallery mock-ups in Photoshop or create online gallery space using Artsteps.com
“Explore the Dichotomies of the Characteristics Between Day and Night”
Introduction(250 – 500 Words)
Opening quote, a opening quote which will grab the reader`s attention and make the reader question.
I can use a quote from Susan Sontag’s writing.
I will commence the introduction with a condensed explanation, mainly writing about how photography can show the hidden areas of normal locations, preparing the theme for the rest of the essay which is the dichotomies between the day and night.
In this Introductory paragraph I will introduce how natural and artificial lighting during the night and day alter settings, bringing out contrasting emotions, I also will write about the contrast of emotions, for example, daytime: clarity, life and energy and for nighttime: Mystery, emptiness and loneliness.
The second section within the introduction will introduce the artists and how they link with my project / theme.
William Eggleston : Known for his use of colour and capturing ordinary life in extraordinary ways.
Pierre Putman : His strong compositions showing off the blend of light and shadows in city settings, he creates a unreal, dreamlike mood with his images.
Todd Hido : Links with his thought provoking night photography, he also explores theme of isolation and mystery.
During this introduction, I will also explain why I have chosen this theme and my own personal attachment to this theme.
I will higlight my main goal of showcasing images during the day and night in my photobook to show the changes.
I will finalize my essay with my essay`s overall focus, which is to analise the work of these artists and how they link to my theme of the dichotomies between the day and the night.
The main focus for this initial paragraph is, the use of colour in photography and how it has changed and developed overtime, especially since the 1970s. I have specifically chosen the 1970s as this was when artists like William Eggleston changed how colour in photography was used and seen.
I will mention the history of colour photography and how in the past it was seen as less “artistic” in comparison to monochrome images.
I will mention how in the 1970s colour photography made a change and became an understood and appreciated art form, mainly influenced by the work of William Eggleston.
New TopographicsNew TopographicsNew Topographics
I will also discuss New Topographics and how that changed how viewers interpreted ordinary landscape images.
I may also carry on using Sontag`s extracts and other sources to support my statements and writing about how photography can change someones way of viewing and emotion.
Paragraph 2 – William Eggleston(500 Words)
William EgglestonWilliam EgglestonWilliam Eggleston
For this second paragraph I will focus on my artist of choice, William Eggleston. I will do an overview of his work, specifically focusing on his excellent use of colour.
I will also explore his development as an artist, looking at every piece of work from every time period and I will also discuss and explore his impact on the world of art.
A section of this paragraph will involve choosing an image from William Eggleston`s to analise, specifically from his first ever publish: William Eggleston`s Guide as that is what I have already been researching.
When analysing an image of his I will discuss technical, contextual, visual and conceptual aspects of the image. As well as this I will also explain how he relates to my theme / project.
In this second paragraph I will also be stating how my work connects to his work, and how he has influenced my day time photography.
Paragraph 3 – Todd Hido (500 Words)
Todd HidoTodd Hido
For this third paragraph, I will follow a similar structure to the second paragraph commencing the paragraph with an overview of Todd Hido`s work, specifically highlighting the way he captures isolation, mystery and the surreal, film like quality of his images.
I will write about Todd Hido`s focus, which is suburban settings and artificial light in a suburban low light landscape.
Todd Hido`s images are great and I want to find out his influence behind his images.
Similarly to the second paragraph I will also analyse an image of his which includes artificial lighting in a dark setting.
Once again I will relate this to my Night time photography images, and explain how he inspired me to experiment / play around with artificial light, weather to turn a ordinary landscape into a emotional composition.
Conclusion (250 – 500 Words)
Finally to conclude essay, I will Summarise the main parts of my essay, repeat the focus of my essay and what i am exploring.
I will also recap how each artist had a part in my theme and helped me gain a better understanding and inspiration for this project.
I will mention any problems or anything i struggled with during the process of making the photobook
Finally I will compare and contrast photographers work to my own work and highlight any differences between my work work and the photographers work.
Essay Requirements
Key Words to Include Within The Essay:
Aesthetic
Formalism
Indexicality
Representation
Narrative
Literary sources: Go to this blog post here: Theory: Literary Sources and copy relevant key texts relating to the subject of your essay and list in alphabetical order in your bibliography. In addition, find your own key texts in relation to artists selected for in-depth analysis in your essay and list these too. These texts could be interviews with the artist, or reviews/ critique’s written by others. See useful online sites/ sources here .
Research and identify 3-5 literary sources from a variety of media such as books, journal/magazines, internet, Youtube/video that relates to your personal study and artists references .
Begin to read essay, texts and interviews with your chosen artists as well as commentary from critics, historians and others.
It’s important that you show evidence of reading and draw upon different pints of view – not only your own.
Take notes when you’re reading…key words, concepts, passages, page number to be used for in-text referencing etc.
Bibliography must be included – List all relevant sources used
