- Memento questions 1 & 5, then 2
- Actively engaging
- As movie - proof is disproved
- Berger p192 Understanding the photograph
- The Cinematic p135
- Sontag p5
Photography in Film - Seminar: Memento
Documenting the Real - Form & Type
- London Trip/Berlin Trip
- Exhibiting at the Old Lookout - experience
- Funding for time, framing and printing
- Offer something above and beyond an exhibition
- Project or studio space availability
- Preparing for a workshop
- Critically engaged
- Documentary - avoid cliche
- Constructing & mediating our images (not window on the world)
- Layers of complexity
- Our role in photography production
- Creative treatment of actuality - ties in with Environmental Portraits
- Moving someway down the subjective line, far from objective
- Robert Adams - geography, metaphor, biography ('place & space', '?' , 'bit of yourself')
- Rare to find unique form - genetic hybridisation
- Abstract - compelling, seductive, making-strange, making us stop and look
- Rhetorical - constructing an essay (an argument), visual essay (keno-fist not keno-eye), political change
- Categorical - categories, to type or chart, denotative, formation of a society
- Associational - spiritual, tinereti
- Form or Type - Documentary Blends
ACPP - Photographer: Angus Fraser
- V&A - Shadow Photography
- After 'Reading Week' will be photography in general
- Angus Fraser
- HCB, Capa, 'The Decisive Moment' - not my thing
- Hockney from different perspective
- Hands-on at college, not fine art
- Nadar Kander - simple landscapes and documentary
- Own style/own niche
- What is my style? (portfolio not unedited mess)
- David Stewart
- AOP assistant awards - Building
- Photography that we are passionate about
- Keep working on your portfolio
- Ideas - Created cohesive body of work
- Landscape & Portraiture on location
- Creativity for advertising
- Start playing with your equipment, learn light
- Try to do it all in camera
- Diversify - gallery in whitstable
- Doing what I thought the art buyer would want
- MA - idea of pilgrimage - Lithuania
- AOP awards, Newspaper
- Raising Profile
ADI - Colour Management III
- Profiling, Soft-Proofint & Printing
- The Printspace - download print profiles
- Also hahnemeuhle.com > Digital Fine Art > ICC Profiles > Style Pro 3800 > Photo Rag duo
- Print profiles .icc
- System > Library > Color Sync > Profiles
- Photoshop > Show > Doc. Profile - Adobe RGB
- Window > Arrange > New Window For… > Drag
- Window > Arrange > Tile
- View > Gamut Warning - grey areas will not print
- View - Proof Setup > Custom > Device to Simulate - Working CMYK + Relative Colormetric + Black Point Comp.
- Relative Colormetric v Perceptual, first keeps tones
- Select Color & Saturation
- Image > New Adj Layer > Selective Color (need to delete alpha channels)
- Flatten Image & Save
- Edit > Convert to Profile
- Profile has changed (little arrow at bottom)
- Prepare for Print - 8 bit
- Image > Image Size > 300 dpi
- If you need to interpolate do so in 10% increments
- Leica M8 13x8 print
- Allow for border
- Last job is to Sharpen
- Save as High Res JPG or TIF
- If you have your printer, no need to soft-proof
- A4 on A3 gives a nice border
- Canvas 42cm x 29.7cm
- File > Page Setup - make sure paper size ok and orientate
- Check color management in top right corner
- Color Handling > Photoshop Manages Color
- Printer Profile > (select the one you need)
- Rendering Intent - Always - Relative Colormetric
- Check Black Point Comp.
- Presets > Print Settings > Media Type > Color Adjustment - Turn Off
- 1440 or higher
- You can save the print settings as a preset
- Test Strips
- Crop Tool > width 3cm, height is same as image
- Crop the part you want
- File > Print > Position Left 1 (for Landscape) then left 6, then left 11
- Sharpening is always done last (otherwise creates halos)
- Filter > Sharpen > Unsharp Mask - Amount 100%, Radius 1.0 - test strip
- Sharpen in small increments
Documenting the Real - Pioneers
- Look at the beginnings of archives of photography
- Jacob Riis
- 'The Photograph' by Clark G (1997) p145-166
- Authority & Significance - challenging these
- We can not make any assumptions
- Our proposals, less slack, less assuming - ie scholarly
- We all have subjective stance inherent even though we try objectivity
- What is your position, what are your beliefs and values?
- When something doesn't seem comfortable, challenge it. Explore it further
- Your project could be your perspective
- As photographers we are not neutral, we are intervening, we are active (capturing the moment is an intervention)
- Jacob Riis - project - active - NYC - director
- Documented dreadful living conditions in the Lower East Side
- Acute poverty, social depravation, uncontrolled immigration
- Systematic (not artistic), factual, extremely authoritive, image as evidence - the image becomes evidence - special locale
- Form of naturalism, seduce the viewer - window of the world
- Realistic (political attitude) explore in depth
- Riis wanted social reform - camera used to fight
- Great photographs, however Riis not a great photographer
- Tool for reform
- Lewis Hine - photography as political tool (not art)
- Mass image
- Kids at work
- Quote - Alan Trachtenberg (1977)
- Rhetoric in photography is putting forward an opinion
- Rhetorical - Documentary
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