Photographer: Jane Bown - "Samuel Beckett"



Presented here uncropped and in their full glory, these photographs show why Jane Bown has been hailed as the natural successor of Cartier-Bresson and as one of the UK's preeminent portrait photographers In this new collection, Jane Brown's astonishingly candid photographs are artfully presented, and behind-the-scenes unpublished pictures that hit the newsroom floor are finally revealed. Working almost exclusively in black and white and with natural light, Jane produces images that reveal the private side of her famous subjects. She works quickly, unobtrusively, and decisively, often snatching great pictures under impossible circumstances. She has an unerring instinct for capturing the telling moment, even in the midst of a media assault or rushed in mid-interview. At every shoot, Jane takes numerous wonderful studies, but the "definitive" image is usually chosen by the "Observer" picture editor, sometimes on the basis of something as arbitrary as how much space was available on the page. Here, Jane's photos finally get to speak for themselves.


Photography in Film - Seminar: Memento

  • Memento questions 1 & 5, then 2
  • Actively engaging
  • As movie - proof is disproved
  • Berger p192 Understanding the photograph
  • The Cinematic p135
  • Sontag p5

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

APDP- Darkroom Intro

  • Darkroom H&S

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