- Working towards independent study
- Online booking of studio and darkroom
- 'Marcus Doyle' - Landscape Photographer
- Photography is not just pretty pictures - body of work and a series of images
- Printspace
- Colour processing - Marcus Roberts
- spectrumphoto.co.uk
- Critical Journals
- Assignment 1 - Environmental Portraits
- idea/story is all important
- execution is taken for granted
- doesn't have to be ten portraits
- tell a story, groups, home (environment)
- model release (simplify)
ACPP - Advance Creative Photographic Practice
ADI - The Year Ahead & Colour Management I
- Colour Balance/Correction
- Web/Book/Images theme to our work (identity)
- Workflow from capture to final print
- How text is used
- Aperture/Booksmart/iWeb
- Dates 7th Dec Sign-Off Tutorial, 11th Jan Issue Assignment 3
- Editing Proficiency - image relate to each other
- RAW - Dynamic Range
- Color Temp, Flash 6000k, Florescent 4000k, Tungsten 3000k
- CTO/CTB - Color Temp Orange/Color Temp Blue
- Grey Card - Use on first image of a shoot
- sRGB/Adobe RGB (1998) to CMYK
- Mini assignment 8-10 images with different white balance settings
APDP - Introduction & Assigments
- Assignment 1 Issued - Ansel Adams Essay
- Assignment 2 Issued - 6 Prints "The Games We Play"
- www.mirandahutton.com
Photography in Film
Module Aims
This module aims to analyse and evaluate the ongoing and future relationship between photography and film by focusing on a range of filmic representations that use the photograph, photographers and the photographic process as a key part of their narrative.
Intended learning outcomes:
By the end of the module you should be able to:
1. analyse the relationship between the moving image and the still image as they occur in filmic representations;
2. demonstrate an informed understanding of the narrative, iconic and symbolic power of photographs as part of film’s narrative strategies;
3. evaluate the range of representations of photographers in film and identify common themes, structures, forms and patterns and discuss the merging of still and moving images;
4. draw upon your theoretical and practical experience with photography to situate theses filmic representations as part of the history of image-making.
Assessment:
Written work to the value of 5000 words (100%).
1. Essay 1 (2500 words, 50%) will require you to analyse in detail a film screened in the first term through a set of prescribed questions (Learning outcomes 1and 2).
2. Essay 2 (2500 words, 50%) will require you to choose a title that will explore aspects of film narrative, genre, and spectatorship in relation to how the photographer, the photograph or the photographic process is represented. The essay title will have to be agreed with your tutor on completion of an essay proposal form (Learning outcomes 3 and 4).
Documenting the Real
Module Aims:
This module aims to examine documentary photography and will place this area of practice into a theoretical and historical context. The module aims to integrate theoretical concepts within practical production and develop your photographic techniques, creative skills and understanding relevant to documentary image making. The module also aims to provide a focused study of the key movements and debates, to examine major figures and examine how documentary photography continues to have relevance to contemporary practice.
This module aims to examine documentary photography and will place this area of practice into a theoretical and historical context. The module aims to integrate theoretical concepts within practical production and develop your photographic techniques, creative skills and understanding relevant to documentary image making. The module also aims to provide a focused study of the key movements and debates, to examine major figures and examine how documentary photography continues to have relevance to contemporary practice.
Intended learning outcomes:
By the end of the module you should be able to:
1. undertake the production of a documentary photographic project from conception to completion;
2. demonstrate a practical understanding of documentary photographic production;
3. evidence a range of research, project management and specific skills appropriate to producing an informed body of work;
4. show in written form a critical understanding of the debates and theories relevant to documentary photography and make informed connections between historical and contemporary developments in the field.
Teaching and Learning Strategies:
The module will be taught with a combination of lectures, practical workshops, practical individual and group exercises, seminars and tutorials. Where appropriate specialist workshops or lectures will be offered by visiting practitioners who will examine their own work within the context of the module’s aims.
Assessment:
Assessment will be based on a photographic documentary portfolio with an accompanying critical journal (75%), and a prescribed essay of 1500-2000 words (25%). The portfolio and accompanying critical journal will be used to assess learning outcomes 1, 2, 3 and 4. The essay assesses learning outcome 4.
1. Open Brief Portfolio with accompanying Critical Journal (75%). Students will be given a choice of themes with an open brief and, with tutor supervision and guidance, will respond utilising relevant conceptual, technical and creative methods.
2. Prescribed Essay (25%). The essay will assess the student’s ability to make critically informed connections and demonstrate an understanding of salient debates and theories.
Advanced Creative Photographic Practice
Aims of Module
This module aims to build upon the production skills and learning developed at Level 1 through extending the range of tuition, facilities and specialist equipment available and the nature and length of practical assignments. This module aims to provide you with the opportunity to develop and refine your conceptual, technical and creative skills. Finally, this module will continue to combine and integrate practical and theoretical concepts by making connections with areas examined within other Level 2 modules.
Learning Outcomes
By the end of the module you should be able to:
1. undertake the production of two practical projects from conception through to completion;
2. display a detailed range of techniques appropriate to the production of photographic images at Level 2,
3. demonstrate a number of research skills, project management and skills specific to producing an informed body of work;
4. evidence, through practice and subsequent critical reflection the development of technical knowledge and creative potential;
5. show in writing a critical engagement with the relationship between theory and practice.
Module Content
During the first term you will be taught to use a range of specialist equipment and relevant skills, within a workshop, studio or location-based context. An example of this is the advanced lighting workshops which move beyond the basics, to provide you with an understanding of complex multiple and mixed light set-ups and techniques. You will also be introduced to medium format photography in this module. Beyond the technical, this module will also seek to develop your own personal aesthetic and ongoing practice. A visit to an exhibition or similar event will provide you with the opportunity to apply knowledge and critical skills to an examination of specific work and practices not necessarily covered in module lectures. The visit itself and the following seminar discussions provide an opportunity for you to develop your own critical approaches to individual work. Classes will examine established photographers’ methods and intentions and examine composition, format, equipment and print style. From this knowledge base, you will be encouraged to reflect critically upon and articulate a personal photographic perspective in relation to a set theme with an open brief in term 1 and in term 2 an open brief where, in negotiation with your tutor, you will propose your own project. The module will also work towards the non-assessed end of year exhibition, where you will be encouraged to assist in its organisation and through the process of editing and selection, contribute up to four images you’re your submitted portfolios.
Analogue Photography & Darkroom Practice
Aims of Module
This module will refine the skills introduced in the Level 1 module: Introduction to Creative Photographic Practice. This module aims to equip you with the skills and knowledge necessary to be creative, competent and confident in analogue SLR, Medium Format photography and black and white darkroom practice. The module aims to examine the inter-relationships between exposure, film development and print and will enhance both photographic and darkroom skills through, for example, the use of filters, toners, and specialised photographic papers.
Learning Outcomes
By the end of the module, you should be able to:
1. undertake the cogent production of a practical project from conception through to completion;
2. demonstrate significant competence in analogue photography and the procedure of black and white film processing and printing,
3. display a range of research, project management and specific skills appropriate to producing an informed body of work;
4. clearly show in written form critically informed connections between the theoretical and practical bases of analogue photographic production.
Module Content
The module will examine analogue 35mm and Medium Format photography as well as black and white darkroom techniques. The module will refine further your technical and creative skills in black and white photography and darkroom practice, and will place emphasis on the inter-relationship between exposure, film development and final print quality. The module will facilitate a range of skills including experimentation and image manipulation through filters, toners and photographic papers. As well as 35mm photography and processing, this module will also give you an opportunity to work with medium format cameras and undertake both studio and field photography.
Advanced Digital Imaging
Aims of Module
Assessment:
This module aims to advance your knowledge of and understanding of digital imaging and modes of digital production. Facilitating further experimentation and exploration of creativity through a series of briefs, the module aims to widen the range of digital techniques and practices adopted using, for example, techniques in Photoshop and Aperture to apply your creativity in a focused way.
Learning Outcomes
By the end of the module you should be able to:
1. identify and evaluate the requirements for successful advanced digital imaging production;
2. design a range of differing photographic responses demonstrating advanced imaging skills;
3. display advanced creative interpretation of set briefs and employ creative solutions as a response.
Module Content
You will examine creative expression through advanced digital imaging. The module will initially provide you with a brief revision and then tuition on advanced use of Photoshop and Aperture demonstrating how digital image enhancement is achieved, including, for example, black and white conversions and modes of digital production. The use of and importance in successful colour management will also be examined. The module will review Photoshop and Aperture functions for acquiring, sorting and processing digital images and in addition. The module’s lectures and demonstrations will draw upon case studies, used to illustrate the programs and techniques expressed.
Assessment:
1. Book Design (30%) (Learning Outcomes 1, 2 and 3).
2. Web Design (30%) (Learning Outcomes 1, 2 and 3)
3. Editing Proficiency (40%) (Learning Outcomes 1, 2 and 3).
Teaching And Learning Strategy
Lectures, demonstrations and workshops are the principal form of teaching and the module is designed to build essential skills within the field of creative imaging and by responding to the assessment you will be given experience of the common work situations and constraints whilst developing advanced technical and procedural understanding. Where appropriate, guest practitioners will be invited to discuss their own work, framing it within the specific concerns of the module.
Seven Elements That Help Make A Great Black & White Photograph
SEPTEMBER 23, 2010
Copyright Scott Bourne 2010 - All Rights Reserved
There was a time all photos were made in black & white. Now the default is color and we have to adjust to get the images from their color to the monochromatic version. (Assuming digital camera.)
Now that shooting B&W is more of a deliberate choice, I thought I’d outline seven elements that I think help make up a great B&W image.
1. Great B&W images tend to be simple, with their main components isolated and easy to identify.
2. Great B&W images tend to have depth and dimension – usually accomplished by creating visual layers that extend from the foreground to the background and all points in between.
3. Great B&W images rely on shape and/or form to make up the image. Hue and color distractions are gone. Only the shapes or forms made up by objects remain and can be arranged in such a manner that they draw the eye into or out of the photograph at the appropriate time and place.
4. Great B&W images tend to exploit contrast. The difference between the whitest white and the blackest black is the highest contrast point in the picture and this can be used to draw the viewer’s eye. Good contrast can help add depth and dimension as well.
5. Great B&W images rely on tone and texture to take the place of color and hue. This can be accomplished in many ways. Texture for instance can be enhanced with side lighting. Sometimes high ISOs are used to emulate film grain for more texture.
6. Great B&W images often rely on patterns to draw the eye into the subject of the photo. It helps form shapes and designate important elements in any B&W scene.
7. Great B&W images tend to minimize the background and accentuate the foreground. While this is not always true, if you look at the bulk of the work of some of the great old-time B&W masters, you’ll find this technique used in many of their images, particularly portraits.
Of course there are many more traits you might want to consider when shooting for B&W images, but these seven points should be top-of-mind, especially if you’re new at B&W photography. They’ll get you to the point where you’re at least in the ball park. Your own vision and creativity can take you from there.
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