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Business card 

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16 personalties test result 

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Glass 

Final - abstract close up of glass object 

Referring to your experimental project that looked at translucency, this project will take these visual experiments further. Translucent, reflective, coloured, transparent, curved and delicate. Qualities that are present in glass that are often extremely difficult challenges to overcome when photographing this material. Make an abstract for an advertising campaign. Props and backgrounds should be made and sourced before shooting. 

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Create a fashion portrait suitable for ‘Dazed and Confused’ magazine. Fashion photography, like advertising, borrows heavily from other sources from art to documentary. The construction of a set, the location, the clothes, the model and props all contribute to the style. Choose a director to influence your shoot - carefully consider which aspects of this director make them unique, look at styling, set, pose, composition, location, props and attitude. A plain or white background is not allowed. Research beyond photographers, look at fashion magazines too.

https://learningonscreen.ac.uk/ondemand/playlists/21249 - videos on bob for research. 

Colour tones from ‘ American Beauty ‘ 

Style and colour from ‘ Fear and Loathing in Las Vegas’ 

Background - red yellow and orange a3 sheets of paper taped together. 

Outfit - Wanted red dress originally but this still works. 

Youtube tutorial on how to edit in photoshop. 

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People at work 

Project set by Photographer Andy Buchanan. Shoot 6 portraits of people at work in Glasgow. These should be people you don’t know. How will you find them? Your subject should be aware that you are photographing them. How will you find a way to ask permission and direct them? You can shoot more. It will take you outside of your comfort zone, so relax, keep your approach simple and find the shot before bringing the person in.

https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwjO_vPi1fLiAhVt8eAKHU--AR0QjB16BAgBEAQ&url=http%3A%2F%2Fnathanclarkephotography.co.uk%2Fpeople-at-work&psig=AOvVaw1OAfn9yOddJV0J3Yj0qkPv&ust=1560934887406966

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Wait for it 

Look at @friendsinperson on Instagram - full of captivating images generally made with natural light in streets and cities across the globe. One thing that they have in common is their sense of timing and keen observation. Awareness of composition, reading the location, exposure control and patience are key elements. Find a location where the light is right and composition is perfect and then wait, wait, wait. Be persistent and resilient. Keep looking and waiting and something might suddenly appear that makes all of the elements fall into place and in the click of a shutter the magic happens. The exercise should excite you and challenge you to make images that contain energy and visual pleasure. 

Research images - instagram at friendsinperson. 

Below is my final image. 

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Rush hour 

Research - video called ‘Everybody Street’ about famous street photographers in New York. 

Your viewpoint should not be that of a tourist. For The Guardian (photographers include the above plus others). An editorial piece has been commissioned to explore Glasgows most important resource - its people. The picture editor requires a series of images that represents the energy of the city through it’s people. (Black and white to show ‘grittiness’- explore ways to do this) . Shoot to a final 100, then select a series to present on canvas.

My final 3 on canvas -

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Fashion - https://my.cityofglasgowcollege.ac.uk/courses/pluginfile.php/706375/mod_resource/content/1/Fa.pdf

advertising - 

https://my.cityofglasgowcollege.ac.uk/courses/pluginfile.php/706378/mod_resource/content/1/Ad.pdf

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Stock 

Above images credited to Alamy -  a stock library for photographers. 

To upload to Alamy you must be 18 years old plus and be the owner of all the images. You can upload photographs, videos and more in a wide range of genres. uploads must be jpeg over 17mb and must pass quality control before they are accepted. All copyrights for images remain yours, therefore you can still use these images for other uses - e.g. upload to other sites if you haven't made it exclusive to Alamy. the contract agreement has no fixed term, you can opt out whenever you like with 45 days notice by email. The average amount of money paid for images is £35, students get 100% of money - Alamy is the only stock site to do this and all other contributors get 40-50%. Model release and property release forms are required if used. The minimum submission for first upload is 3 images. You are allowed to retouch your images but not allowed to sharpen - all details under the quality control guide. You must caption and use keywording for images to be found by users. 

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Family Documentary

Tina Barney

1.    Candid photos are informal, taken without subjects knowledge or unposed. Tableau means ‘living picture’ therefore posed.

2.    Theatre of manners suggest she is putting on some sort of show in her images, using the behaviours of her family to play it out.

3.    She wants us to think her family are from money, are high up on the social ladder but also perhaps that they are a regular family at its heart.

4.    Because of the way she photographs her family with the maids cleaning their rooms, the big, well furnished rooms but also the series snapshot style.

5.    The photos are constructed, in many the subjects are looking at her and we know that she is heavily inspired by classic paintings.

6.    The story is about her family, but also can be used to describe the complex relationships we all share with our families.

Nicholas Nixon

1.    She is the third woman in the placement. She is always made to stand out in someway that helps us to identify this in his work.

2.    Tradition and to keep a theme to help identify each person.

3.    His project shows the timeline of these sisters, getting older together, their relationship.

Elinor Carucci

1.    Unusual. Intense. Intimate. Quite. Relaxed.

2.    She reveals an intimacy. An unseen relationship between them.

3.    To her they are normal and she enjoys using the camera to act as a method of both being close and distant with her family.

4.    I think mainly for herself and them.

5.    They are also used to being exposed in this way.

Richard Billingham

1.    Son and father relationship.

2.    No, not all photography is. It can be used as a tool to highlight world crisis and expose truth.

3.    The father has drinking problems, it has created issues for the son and the mother. Shown threw the empty bottles, the state of him and the flat. But his family still try to care for him – trying to feed him.

Sally Mann

1.     Agree, her children aren’t just used for the photographs, they help make the        photographs.

2.     Taking images of children in the nude and in certain poses has brought lots of negative attention to her work.

3.     With society today it is too risky and could spark controversy.

Nan Goldin

1.     Family can also be a group of people that are close but not blood related. ‘Outsiders’ is not how she feels towards these people.

2.     They are people who stray from the norm, it creates an interest in these people and their lives.

3.     No, documentary photograhers don’t just photograph those that they are like, they take on a wide variety of subjects. Plus it would be boring if you did.

Margaret Mitchell

It is about her sister’s family, 20 years after the first series. Her sister died and she went back to document the lives of the children as they have children of their own

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Paper movies

What is the significance to us of the ‘Photographic Journey’ in three decades from the 1950’s? The photographic journey describes the significance of how the environments from deserts, roads, city streets and man made environments have evolved and altered the landscape of history. Joel Sternfeld is seen using what type of camera? Why would he be using this instead of digital?

Joel is working on an 8x10 large format camera as he prefers the spacial power and authenticity over digital.

Why has Robert Frank’s book ‘The Americans’ had such an impact on modern photography?What ‘narrative’ is pervasive throughout his book?

Created in the 1950s during a series of road trips through the United States, it shows a different view of the Americas as not seen in the country’s self-image at the time. From highways, parades, cars, interiors and many other cliché and stereotypically American symbols.

The images portrayed an underlying sense of depression, alienation and hardship. Frank looked in depth at the gaudy fake façade that the Americas put on and brought a newer light to the world. William Klein had one particular photographic outlet for the expression of his photography – How would you describe his attitude to photography?

Klein was fearless, fast to work and worked with a strong sense of rhythm. His images show aggression and a real sense of shock and awe to provoke a stronger reaction. What made Joel Meyerowitz reject Henri Cartier Bresson’s decisive moment concept for his New York Street Photography?

Bresson had a romantic view of the parks and streets of New York with a low scale of elegance to it. Meyerowitz felt that there was a vibrancy and energy to the city and his work showed a more ecstatic approach.

Iconic NY Street Photographers Garry Winogrand, Diane Arbus & Lee Friedlander and English Photographer, Tony Ray Jones who was heavily influenced by the above noted the key pointers to being a successful Street Photographe. Can you list them…. Jone’s list: Be aware of shake Aggression Be involved Get close Stay on subject Don’t be boring Be simple Relate everything Shoot little Why have British ‘street photographers’ gravitated to the beach as an ideal location for their subject matter?

A traditional form of candid street photography in Britain is of people on the beach. It is more abundant in the UK than America with a higher percentage of the population living closer to it. The people also often show another side to themselves that they wouldn’t unless at a beach, in 1896 photographer Paul Martin took a photograph that shows just this happening.

The Road trips of Stephen Shore & Joel Sternfeld Your observations……

Shore kept a visual diary in colour of his trip. Everything from places, beds, people and toilets he had a budget and an idea with a clear outcome in min where in reflection Sternfeld was broke on $40 and some sunflower seeds he barely shot a lot but kept each shot intentional as he journeyed towards his goal.

Why would William Eggleston be regarded by photographers as ‘King’?

From his inspirational and ground breaking work, to his use of colour and garish composition Eggleston is held in high regard among street photographers. His approach to answering questions put to him by his peers is unique as if he has selected which parts of the question to hear. How ever if not for his work and methods street photography and the approach may not be what it is today, leading photographers such as Martin Parr, Nan Goldin and Jeff Wall all attribute their inspiration to “King”. Which would only have happened with the work and approach taken by Eggleston.

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Photojournalism and comparison

task 1 - 6 things that photojournalism does:

-a unique and powerful form of visual storytelling

-illuminates and clarifies the issues of our time

-with a depth and perspective fe other mediums can achieve, can reach audiences with immediate impact

-contributes to our deeper understanding

-can act as an agent of change

writes our visual history and forms our collective memories

what will you shoot as a photojournalist? - I would shoot at different locations world wide highlighting pollution and its effect on the planet

six genres I would cover- environment, politics, arts, social issues, psychology, travel

equipment - Camera and spare camera , batterys , cards , secure bags and backup . suitable clothing.

what responsibilities might a photojournalist have - the responsibility of telling the truth and interpreting the reality. It is very easy to take a picture that doesn’t represent the reality and it’s not a problem unless it goes as far as for example war propaganda and fake information in media. Once an image is out there, a photographer loses all the control over what people see in it.

task 2 - sources of good photojournalism

-broadsheet newspaper

-national geographic

-magnum

-photography books

-Exhibitions

-cultural events, talks

task 3

Choose two established photojournalists from Magnum or a large photo agency and look at four photographs for each photographer. Make a presentation with your research group. Do not include words. All images MUST be sourced. Present a comparison between the two as a group from your notes. Present your findings to the class.

Gregory Halpern-

https://www.magnumphotos.com/photographers/

Steve Mcurry-

https://www.google.co.uk/search?q=steve+mccurry&rlz=1C1GCEA_enGB853&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjGmv2Y3ebiAhXtXRUIHWH0CTEQ_AUIECgB&biw=1366&bih=576#imgrc=_

Gregory’s unerring eye for beauty is focused on its contradictions and unlikely occurrences. Known for his artist’s books, Gregory enjoys taking us into another world, to get lost in pictures. He likes to explore, to find places he doesn’t know. Gregory’s work is led by aesthetics, even when his subject matter is challenging. A study of working conditions for janitorial staff at Harvard, created while he was a student there, resulted in a successful bid for the minimum wage. His images of life in post-industrial towns of the American Rust Belt were published to critical acclaim in A (2011), and again show resilience in the face of harsh social and economic realities. But the common thread in his work is the discovery of something visually arresting, extraordinary – and he draws our attention to these tensions by placing them within a frame.

Steve mccurry has been one of the most iconic voices in contemporary photography i the past 30 years. With scores of magazine and book covers and countless exhibitions around the world to his name. he has taken some of the most recodnisable photographs in photojournalism. 

Both are different ages and have a completely different approach in their aesthetics in photography.  Gregorys composition tends to be a bit quirky, straight horizontal and vertical lines are really often missing. It looks more ‘on the go’ shot ‘by hand’. For Steve Mccurry, I find his work less humorous and sarcastic. I would say his photographs talk much more about alienation - his subjects are often captured being somewhere on their own and the environment, their surroundings speak volumes about how they feel and the way they are living.  The landscape is a very important part of a story. Who are they? What are they doing in here? What are they thinking about? I feel there is less sarcasm and more questioning, more storytelling.

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Awards - Wellcome Award

Categories: Social perspectives – explore how health and illness affect the way we live. Hidden worlds – reveal details hidden to the naked eye. Medicine in focus. show health and healthcare up close and personal. Outbreaks (2019 theme) – capture the impact of disease as it spreads.

Entry Fee: 0 cost per entry, as many images as you like but cannot enter the same image in different categories.

Where is is based: Uk based competition but it is open to a worldwide audience.

Who is the sponsor/could this effect your submission: The sponsor is ran by the Charity "Wellcome Trust". They are a charity based in England and Wales who support scientist and researchers. They are both financially and politically independent. Most of their competitions surround the medical and science world, meaning if you are not in that field or working in that field it could be difficult to accurately submit images for the brief.

Timetable of Submission Deadline: Deadline is the 17th of December 2018, winners announced 3th of July 2019 with exhibition being 4th of July.

Technical Requirements: Watermarks and all branding has to be removed form he image before submission but can be put in the MetaData. High resolution images, ready for print. 15mb (uncompressed) files in Adobe RGB (1998). Tiff/HighRes Jpg files are much preferred.

Ethical/Plagiarism/Manipulation: Images that have been shortlisted or won before cannot be re-submitted. Any work that has already been commissioned by Wellcome can also not be submitted. Any manipulation or altercations to the images are allowed as long as they are fulling disclosed upon entry to the competition.

Previous winners-

Above are a couple of the previous winners from each of the categories. I think they are very effective as they fit the brief. The images also target the judges and their backgrounds well. They are clearly thought out and fit the theme of the Wellcome way.

Judges: These are made up of medical personnel as well as the director of photography at the FT. There is also a NatGeo photographer and fellow. each offer their own spin on medicine and the scientific world. Some of the winners are a kind of documentary level and others are plain and simple medicine.

Award: In the medical world it is seen as one of the most prestigious photography prizes. Winner of each category will get £1250 with the overall receiving £15000. However, there has been a few complaints with regards to the winners over the past few year s as they have not necessarily been professional photographer, causing a slight uproar in the photographic community.

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Fashion photography

Seven Photographs that Changed Fashion is a BBC documentary showing how Rankin interprets and recreates seven classic fashion photographs that he felt had the biggest influence of fashion photography. In some of these recreations he use the old fashion techniques that the photographers would have used themselves and then in some he used modern techniques to try and get the same effect. Rankin explores how each of the fashion photographers influenced the next and so on and explaining why fashion photography looks how it does today.

1st photograph: Richard Avedon's 1955 image, 'Dovima with Elephants' with model Dorothy Horan. Rankin recreated this image using model Erin O'Conner. Rankin and the model were nervous to work with such big animals, but as the shoot went on they got more and more comfortable until they got a shot they were happy with. The elephants in the original look a lot more chaotic and like they are trying to escape from their chains, whereas the elephants look a lot more relaxed and stable in Rankin's recreation. I think I prefer the original shot as the model look like she has been caught in the moment, instead of looking like she is specifically posing for photograph. The original is brighter and the lighting looks very even, in comparison to the more directed, almost spot light, effect of Rankin's image. However I do like how much Erin O'Conner stands out, with her very pale skin against the dark background.

2nd:  This 1963 Vogue image was taken by photographer, David Bailey, of his former lover, Jean Shrimpton. David Bailey was the first photographer to bring 'sex' into his images in Britain and started a new fashion photography movement. Rankin recreated this image with this girlfriend, Tuuli. I thought it was really interesting how the photographer and model had the same relationship at the time of the photograph. I really like the movement of the hair in both these images because it makes the image more fun and flirtatious. I also like that a lot of skin on the model is showing because it adds a sexiness to the image that was very 'Bailey'. The model's looked very different in person, however I think they look very similar in the image because of their strong jawlines, long, toned arms and accurate positioning. I think the fact that Rankin highlighted the model's side boob give the image a sexier look. David Bailey was present during the recreation of his 1963 Vogue image and so helped and gave advice on the shoot. For example, Bailey said that he used a piece of card that he wafted to get that hair movement and so Rankin used the same technique. Bailey said he used a Rolleiflex camera, so Rankin experimented with and used this camera for his final shot. It was interesting to hear when Bailey said that he thought fashion photography was very sexual and that he felt love for the model he was shooting and I think that love came through in his Vogue shot.

3rd: Rankin next recreated Erwin Blumenfeld's January 1950 Vogue cover of model Jean Patchett. Even though this image was very famous for it's use of colour, the original image was actually taken in black and white and then the colour was added in afterwards in the printing stage. Rankin chose Heidi Klum to be the model and he used a digital camera. Digital manipulating was used, as in Blumenfeld's, to add colour and erase anything unnecessary, just to leave the lips, beauty spot, eye and eyebrow. Heidi stuck her tongue out in one shot and Rankin thought it worked perfectly, giving a cheeky interpretation of the classic and iconic 1950 cover.  Rankin also adjusted the composition of the image and kept the nose in the shot, which in my opinion, completely changes the concept of the image. I think both images give a different emotion. In Blumenfeld's image, the model is looking more snobby and composed as she looks down at the camera, whereas in Rankin's interpretation, the model looks more playful and cheeky. I really like how the colour was painted on afterwards in both shots because it gives a very similar, almost pop art, look.

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Portrait photographers

In contextual we have been asked to research 2 well-known portrait photographers  and look at their approach, colour palette, composition and mood. I have chosen to look at Martin Scholler and

Martin Scholler

Martin Scholler describes his portraits as “hyper-detail close ups”. His portraits majority of the time have the exact same set up, lighting, back drop and tones.

His portraits are also majority high key and in colour. He treats his process the same regardless if he is shooting the president or ion he is shooting a random non-celebrity. Everyone is shot and edited in the same style, there is no preferential editing for more popular or known people.

When he shoots, his subject is always in the centre of the frame and will mostly fill the full frame. Eye are always glowing and most of the clothes and hair are blurred out concentrating on the face and eyes.

It looks like the lighting is always the same, he looks to use 2 strip softboxs, based on the catchlights in all his subjects being the exact same. The portraits he takes are mostly expressionless/straight faced.

His work is very distinctive, which may be the reason he has shot some of the most famous people on earth. Always shoot clean white with very even high key tones.

Arnold Newman

Newman is considered to be the Father of Environmental Portraiture because he didn't shoot the usual portrait (the typical headshot); instead, he started including the subject’s environment in the frame. He shot his portraits of people inside their comfort zones and gave these surroundings a leading role, almost a persona.

One of the most curious things about every photographic niche is all the definitions that people craft around them. Portraiture is no exception. But when understanding Newman's imagery through the question “What is a portrait?” the answer allows a very rich array of possibilities. 

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Tabloid /Broadcast Sheet

We were each given a newspaper and asked to discuss the photography information which is included in the paper. Photographic Style of Paper: The style is photojournalist, professional and informative. The paper is targeted at the business world and is a very professional tabloid. Most of the images are coverage from key events and all factual.

Amount of photographs: 240 give or take.

How many credited?: It looks as if around 50% are credited, I presume that the others that are not may be of staff photographer from the Guardian themselves.

Layout, text to images: Much more text than images in this paper, very informative spread about on going issues and business.

Freelance or Staff?: Some are freelance, some are staff and the rest is form Stock. The Freelancers and the Stock are always credited, the staff photographers do not look like they are as it comes form in-house.

Quality of Image: I presume that the papers are more keen on getting images of the event and not necessarily fussed on the high quality. Some of the images are screen grabs and some are from stock as this is the quickest way for them to get it published.

Similar stories/events?: Majorly politics, economics and business.

The story we looked at: This was based on Brexit, there was lot of information and the images were primarily of Theresa May speaking at the house of commons, the test was supporting this and painted the picture to the reader. The images was not of high quality but fit the purpose of the article sufficiently. The paper does not need to have the highest end of photography as it is more important to them to get the article published and move on to the next, meaning the images will always be relevant to the context but not always will be of a high standard.

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Right time , right place. 

Susan Meiselas was in born June 21, 1948 is an American documentary photographer. She has been associated with Magnum Photos since 1976 and been a full member since 1980. She is best known for her 1970s photographs of war-torn Nicaragua and American carnival strippers.

Meiselas has published several books of her own photographs and has edited and contributed to others. Her works have been published in newspapers and magazines including The New York Times, The Times, Time, GEO, and Paris Match. She received the Robert Capa Gold Medal in 1979 and was named a MacArthur Fellow in 1992. In 2006, she was awarded The Royal Photographic Society's Centenary Medal and Honorary Fellowship and in 2019 the Deutsche Börse Photography Foundation Prize.