Desaturated, Vingette, Black and White and HDR
HDR and Black and White
Thursday, 30 January 2014
Photoshopped Landscapes
Desaturated, Vingette, Black and White and HDR
HDR and Black and White
Wednesday, 29 January 2014
FMP Contextual - Michael Kenna
Michael Kenna
Michael Kenna is an English photographer best known for his black & white landscapes. Kenna's photography focuses on unusual landscapes with ethereal light achieved by photographing at dawn or at night with exposures of up to 10 hours. Since about 1986 he has mainly used Hasselblad medium format and Holga cameras and this accounts for the square format of most of his photographs. The main exception was for the photographs in Monique's Kindergarten for which a 4x5' large format camera was employed.
I really like Kenna's photographs, so much so I will try using similar techniques (such as the long exposures and composition) in my landscape work. As well as this, I think Kenna has done a fantastic job of printing from his negatives to make smooth, yet high contrast black and white prints. The detail retained from using medium and large format film is great, I don't think the photographs would be anywhere near as interesting if the scenes were shot digitally, or even on 35mm film.
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Michael Kenna is an English photographer best known for his black & white landscapes. Kenna's photography focuses on unusual landscapes with ethereal light achieved by photographing at dawn or at night with exposures of up to 10 hours. Since about 1986 he has mainly used Hasselblad medium format and Holga cameras and this accounts for the square format of most of his photographs. The main exception was for the photographs in Monique's Kindergarten for which a 4x5' large format camera was employed.
I really like Kenna's photographs, so much so I will try using similar techniques (such as the long exposures and composition) in my landscape work. As well as this, I think Kenna has done a fantastic job of printing from his negatives to make smooth, yet high contrast black and white prints. The detail retained from using medium and large format film is great, I don't think the photographs would be anywhere near as interesting if the scenes were shot digitally, or even on 35mm film.
FMP Contextual - Saul Leiter
Saul Leiter was an American photographer and painter whose early work in the 1940s and 1950s was an important contribution to what came to be recognized as the New York School. Saul Leiter was born in Pittsburgh, Pennsylvania. His father was a well known Talmud scholar and Saul studied to become a Rabbi. His mother gave him a Detrola camera at age 12. At age 23, he left theology school and moved to New York City to become an artist. He had developed an early interest in painting and was fortunate to meet the Abstract Expressionist painter Richard Pousette-Dart. Pousette-Dart and W. Eugene Smith encouraged Leiter to pursue photography and he was soon taking black and white pictures with a 35 mm Leica, which he acquired for a few Eugene Smith prints. In 1948, he started taking color photographs. He began associating with other contemporary photographers such as Robert Frank and Diane Arbus and helped form what Jane Livingston has termed the New York School of photographers during the 1940s and 1950s. He died on the 26th of November 2013.0
I like that Saul Leiter seems to carefully compose his photographs, from the looks of things, he waits for the opportune moment to take the shot. I prefer this massively to artists like Joel Meyerowitz who seem to shoot randomly, making snapshots instead of photographs. Although I don't shoot people very often, I think the patience and consideration that Leiter uses can be used across all areas to improve my work.
I like that Saul Leiter seems to carefully compose his photographs, from the looks of things, he waits for the opportune moment to take the shot. I prefer this massively to artists like Joel Meyerowitz who seem to shoot randomly, making snapshots instead of photographs. Although I don't shoot people very often, I think the patience and consideration that Leiter uses can be used across all areas to improve my work.
FMP Contextual - Joel Meyerowitz
Joel Meyerowitz (born March 6, 1938) is a street photographer, and portrait and landscape photographer. He began photographing in color in 1962 and was an early advocate of the use of color during a time when there was significant resistance to the idea of color photography as serious art. In the early 1970s he taught the first color course at the Cooper Union in New York City where many of today's renowned color photographers studied with him.
Meyerowitz was inspired by seeing Robert Frank at work, Meyerowitz quit his job as an art director at an advertising agency and took to the streets of New York City with a 35mm camera and black-and-white film, alongside Garry Winogrand, Tony Ray-Jones, Lee Friedlander, Tod Papageorge and Diane Arbus. He drew inspiration from Henri Cartier-Bresson, Robert Frank and Eugène Atget — he has said "In the pantheon of greats there is Robert Frank and there is Atget."
After alternating between black-and-white and color, Meyerowitz "permanently adopted color" in 1972, well before John Szarkowski's promotion in 1976 of color photography in an exhibition of work by the then little-known William Eggleston. Meyerowitz also switched at this time to large format, often using an 8×10 camera to produce photographs of places and people.
Personally, I don't really like the majority of Meyerowitz' work, most of it seems like snapshots. No consideration is apparent when he's shooting, the first two photographs are good examples, the subjects are all random, doing random things; there's no focus on any specific thing.
FMP Contextual - Ernst Haast
Haas wasn't interested in photography at an early age, but took advantage of his family’s extensive library, as well as museums and libraries in Vienna. This lead him to study philosophy and poetry, both of which started his interest of the creative potential for photography. 'A Poet's Camera' was one of the pieces which sparked his interested, it included work from artists like Edward Weston. Haas went on to work for 'Life' and was elected to Magnum's board of directors following the deaths of Robert Capa and Werner Bischof in 1954.
Here are some examples of Ernst's work.
Haas' work is all of a similar style, focusing on long exposures, making his subjects look almost dragged out. Although I think the concept is good, I'm not fond of Haas' work, his photographs are dull, and aren't appealing in my opinion. That being said, I can see why his work is popular, it is well shot, and an idea that has not been over used in popular photography.
Tuesday, 28 January 2014
Materials
I have used the following materials:
E6 Film and Developing
E6 is a colour positive film, which comes out blue. I've used this film because the photographs turn out really bold and contrasty, and have a feel to them different to digital photographs.
C41 Film and Developing
C41 is a colour negative film, which comes out brown. I've used this film purely experimentally, because I thought the natural brownness would fit well with the theme of landscapes, especially when photographing trees.
Canon 1100D DSLR
A DSLR is a camera with changeable lenses, often of a higher quality than a compact camera, or one on a mobile phone. I've used my Canon digital single lens reflex camera for most of my work, because it's the easiest and quickest way of producing and reproducing photographs.
Minolta Film Camera
My Minolta film camera is a fully automatic camera with a built in lens with around 10mm focal length. I've used this to experiment with different films and materials to create a wider range of work.
50mm Lens
My 50mm lens has a maximum 1.8 aperture, which is good for photographing shallow depths of field, which can be seen a lot in my photographs. This is good to use because I can use lower ISOs, making less grainy and higher quality photographs.
18-55mm Lens
My 18-55mm lens has a maximum aperture of 5.6, meaning higher ISOs need to be used to produce correctly exposed photographs. Although it has the downfall of aperture, having an adjustable focal length allows me to create both wide angle and close up photographs, which is useful for producing a wider body of work.
75-300mm Lens
My 75-300mm lens also has a maximum aperture of 5.6, meaning higher ISOs need to be used to produce correctly exposed photographs. Using this lens makes it difficult to photograph close up, because it's so zoomed in, you need to be stood quite far away to be able to focus.
E6 Film and Developing
E6 is a colour positive film, which comes out blue. I've used this film because the photographs turn out really bold and contrasty, and have a feel to them different to digital photographs.
C41 Film and Developing
C41 is a colour negative film, which comes out brown. I've used this film purely experimentally, because I thought the natural brownness would fit well with the theme of landscapes, especially when photographing trees.
Canon 1100D DSLR
A DSLR is a camera with changeable lenses, often of a higher quality than a compact camera, or one on a mobile phone. I've used my Canon digital single lens reflex camera for most of my work, because it's the easiest and quickest way of producing and reproducing photographs.
Minolta Film Camera
My Minolta film camera is a fully automatic camera with a built in lens with around 10mm focal length. I've used this to experiment with different films and materials to create a wider range of work.
50mm Lens
My 50mm lens has a maximum 1.8 aperture, which is good for photographing shallow depths of field, which can be seen a lot in my photographs. This is good to use because I can use lower ISOs, making less grainy and higher quality photographs.
18-55mm Lens
My 18-55mm lens has a maximum aperture of 5.6, meaning higher ISOs need to be used to produce correctly exposed photographs. Although it has the downfall of aperture, having an adjustable focal length allows me to create both wide angle and close up photographs, which is useful for producing a wider body of work.
75-300mm Lens
My 75-300mm lens also has a maximum aperture of 5.6, meaning higher ISOs need to be used to produce correctly exposed photographs. Using this lens makes it difficult to photograph close up, because it's so zoomed in, you need to be stood quite far away to be able to focus.
Units
Unit 1
The unit will develop the learner's knowledge, skills and understanding necessary for the confident application of visual language in a range of art and design activities.
Learning Outcomes
1 - Understand the characteristics of visual language in art and design
2 - Be able to apply visual language to a range of art and design activities
Assessment Criteria
1.1 - Critically compare, through experimental application, the characteristics of a wide range of visual language elements.
2.1 - Apply visual language, across a range of contexts, to influence appearance and meaning in art and design
2.2 Critically compare the use of visual language, across a range of contexts, to influence appearance and meaning in art and design.
Unit 2
This unit will provide the learner with an introduction to a range of research activities and related skills appropriate to the support of art and design. The unit will also develop and understanding of the vital role that research plays in informing and developing ideas.
Learning Outcomes
1 - Understand research tools, methods and skills
2 - Understand primary and secondary research sources
3 - Be able to use research tools, methods and skills to inform ideas for creative activities
Assessment Criteria
1.1 - Critically compare a range of research tools, methods and skills
2.1 - Critically compare a range of primary and secondary research sources
3.1 - Apply research tools, methods and skills to record and interpret information and develop ideas for creative activities
3.2 - Evaluate the effectiveness of research tools, methods and skills to develop ideas for creative activities
Unit 3
This unit will provide the learner with an awareness of the critical p perspectives and contextual frameworks that support practical activity in art and design.
Learning Outcomes
1 - Understand critical perspectives that influence the analysis of art and design activity
2 - Understand the contexts within which art and design is positioned
Assessment Criteria
1.1 - Critically compare a range of critical perspectives that influence the analysis of art and design
1.2 - Apply knowledge of critical perspectives to the analysis of a range of art and design activities
1.3 Apply knowledge and understanding of a range of critical perspectives to support own art and design practice
2.1 - Critically compare a range of contexts within which art and design is positioned
2.2 Apply an understanding of a range of contextual parameters to support own creative development
Unit 4
This unit will provide the learner with an introduction to a range of materials and processes used in art and design, their particular characteristics, and the related technical skills necessary to record experiences and articulate ideas.
Learning Outcomes
1 - Understand materials, processes and technical skills used in art and design
Assessment Criteria
1.1 - Critically compare a range of materials and processes used in art and design through experimental application
1.2 - Apply understanding of materials and processes to support own art and design activities
1.3 - Apply understanding of technical skills to support own art and design activities
1.4 - Evaluate the use of materials, processes and technical skills to own support art and design activities
Unit 5
This unit will develop the learner's ability to critically analyse and integrate research, contextual understanding, materials, methods and skills to solve 2 dimensional problems in art and design.
Learning Outcomes
1 - Be able to analyse and research a 2 dimensional problem in art and design
2 - Be able to use an integrated approach to 2 diminutional problem solving in art and design
3 - Be able to use evaluation to support solutions to problems in 2 dimensions in art and design
Assessment Criteria
1.1 - Analyse the requirements and parameters of a 2 dimensional problem in art and design
1.2 - Apply research activities to support solutions to a 2 dimensional problem in art and design
2.1 - Demonstrate the ability to plan, organise and prepare solutions to a 2 dimensional problem in art and design
2.2 - Apply practical skills, understanding and methods to solve 2 diminutional problems in art and design
3.1 - Analyse the effectiveness of solutions to 2 dimensional problems in art and design
The unit will develop the learner's knowledge, skills and understanding necessary for the confident application of visual language in a range of art and design activities.
Learning Outcomes
1 - Understand the characteristics of visual language in art and design
2 - Be able to apply visual language to a range of art and design activities
Assessment Criteria
1.1 - Critically compare, through experimental application, the characteristics of a wide range of visual language elements.
2.1 - Apply visual language, across a range of contexts, to influence appearance and meaning in art and design
2.2 Critically compare the use of visual language, across a range of contexts, to influence appearance and meaning in art and design.
Unit 2
This unit will provide the learner with an introduction to a range of research activities and related skills appropriate to the support of art and design. The unit will also develop and understanding of the vital role that research plays in informing and developing ideas.
Learning Outcomes
1 - Understand research tools, methods and skills
2 - Understand primary and secondary research sources
3 - Be able to use research tools, methods and skills to inform ideas for creative activities
Assessment Criteria
1.1 - Critically compare a range of research tools, methods and skills
2.1 - Critically compare a range of primary and secondary research sources
3.1 - Apply research tools, methods and skills to record and interpret information and develop ideas for creative activities
3.2 - Evaluate the effectiveness of research tools, methods and skills to develop ideas for creative activities
Unit 3
This unit will provide the learner with an awareness of the critical p perspectives and contextual frameworks that support practical activity in art and design.
Learning Outcomes
1 - Understand critical perspectives that influence the analysis of art and design activity
2 - Understand the contexts within which art and design is positioned
Assessment Criteria
1.1 - Critically compare a range of critical perspectives that influence the analysis of art and design
1.2 - Apply knowledge of critical perspectives to the analysis of a range of art and design activities
1.3 Apply knowledge and understanding of a range of critical perspectives to support own art and design practice
2.1 - Critically compare a range of contexts within which art and design is positioned
2.2 Apply an understanding of a range of contextual parameters to support own creative development
Unit 4
This unit will provide the learner with an introduction to a range of materials and processes used in art and design, their particular characteristics, and the related technical skills necessary to record experiences and articulate ideas.
Learning Outcomes
1 - Understand materials, processes and technical skills used in art and design
Assessment Criteria
1.1 - Critically compare a range of materials and processes used in art and design through experimental application
1.2 - Apply understanding of materials and processes to support own art and design activities
1.3 - Apply understanding of technical skills to support own art and design activities
1.4 - Evaluate the use of materials, processes and technical skills to own support art and design activities
Unit 5
This unit will develop the learner's ability to critically analyse and integrate research, contextual understanding, materials, methods and skills to solve 2 dimensional problems in art and design.
Learning Outcomes
1 - Be able to analyse and research a 2 dimensional problem in art and design
2 - Be able to use an integrated approach to 2 diminutional problem solving in art and design
3 - Be able to use evaluation to support solutions to problems in 2 dimensions in art and design
Assessment Criteria
1.1 - Analyse the requirements and parameters of a 2 dimensional problem in art and design
1.2 - Apply research activities to support solutions to a 2 dimensional problem in art and design
2.1 - Demonstrate the ability to plan, organise and prepare solutions to a 2 dimensional problem in art and design
2.2 - Apply practical skills, understanding and methods to solve 2 diminutional problems in art and design
3.1 - Analyse the effectiveness of solutions to 2 dimensional problems in art and design
Wednesday, 15 January 2014
Corporation Park - E6 Film
These photograph were taken on an automatic film camera with a lens with a focal length around 10mm. I used E6 film with 100 ISO, making the pictures appear less grainy. I developed the film normally, then scanned the negatives in and changed them to black and white in Photoshop, also altering the contrast.
I like how the photographs have turned out, they really fit in with my landscape theme. The composition and tonal range are the two aesthetic points I like the most, I will definitely take the, in to consideration when shooting in the future, focusing on the lines and curves within the frames.
If I reshot the photographs, I would probably do it in different weather conditions, the skies look quite clear, making the photographs have a lot of white in them.
Jack Keys Photographs - C41 Film
These photograph were taken on an automatic film camera with a lens with a focal length around 10mm. I used C41film with 100 ISO, making the pictures appear less grainy. I developed the film normally, then scanned the negatives in and changed them to black and white in Photoshop, also altering the contrast.
I like how the photographs have turned out, they really fit in with my landscape theme. The composition and tonal range are the two aesthetic points I like the most, I will definitely take the, in to consideration when shooting in the future, focusing on the lines and curves within the frames.
If I reshot the photographs, I would probably do it in different weather conditions, the skies look quite clear, making the photographs have a lot of white in them.
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