Photographer: Taryn Simon - "The Innocents"


The Innocents documents the stories of individuals who served time in prison for violent crimes they did not commit. At issue is the question of photography's function as a credible eyewitness and arbiter of justice.

The primary cause of wrongful conviction is mistaken identification. A victim or eyewitness identifies a suspected perpetrator through law enforcement's use of photographs and lineups. This procedure relies on the assumption of precise visual memory. But, through exposure to composite sketches, mugshots, Polaroids, and lineups, eyewitness memory can change. In the history of these cases, photography offered the criminal justice system a tool that transformed innocent citizens into criminals. Photographs assisted officers in obtaining eyewitness identifications and aided prosecutors in securing convictions.

Simon photographed these men at sites that had particular significance to their illegitimate conviction: the scene of misidentification, the scene of arrest, the scene of the crime or the scene of the alibi. All of these locations hold contradictory meanings for the subjects. The scene of arrest marks the starting point of a reality based in fiction. The scene of the crime is at once arbitrary and crucial: this place, to which they have never been, changed their lives forever. In these photographs Simon confronts photography's ability to blur truth and fiction-an ambiguity that can have severe, even lethal consequences.

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In this new collection, Jane Brown's astonishingly candid photographs are artfully presented, and behind-the-scenes unpublished pictures that hit the newsroom floor are finally revealed.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