Ch1 – a brief history of photograohy – auto mode – not worrying about technicalities.
Shutter & Aperture Focus (ch2 & 3) – Shutter controls time, aperture controls space (DoF)
Ch4 – Light –
ch5 – Viewpoint – returns topic back to photographers view point
Based on book by Flusser
The representation of the world no longer depends on the direct experience but on the interpretation of previous images, on the representations that already exist.
We often take similar views to that we’ve already seen. i.e. if we google images of mount fuji – we tend to get very similar images. They might be good images, but they’re all vert similar. Why? Hokusai – created some of the first images, subsequently copied.
“It’s true that you can still take new images, but they would be redundant, non-informative images, similar to those one has seen before”
Photographers are not always looking for something completely unique – is that even possible? You can take influence from other images and use them as inspriation. We tend to notice differences and similarities.
Photographers can force the camera to create unpredictable, informative images.
John Davies Mount fuji image shows Mt Fuji as an ‘incidental’ subject in a photo of a factory, with water, and cherry blossom but very different image.
End of Pt 1 – Research Point Jpegs – Tomas Ruff – Jpegs.
Read reviews by Campany and Colberg,
Try and pick out the key points made my each writer.
You don’t have to agree!
Colberg – Jpegs is a pretty thin idea
Campany – jpegs has a lot of conceptual depth.
photography in particular (specific photographers/photographs) vs photography in general (flusser)
archival grids. Family photo albums, historical etc. All photographs are part of an archive.
Archival grid = series.
Art of the pixel – pixel vs grain.
What is your position on this?
Ex 2.4 Woodpecker
How to get total DoF in a shot – sharpness from foreground to background.
If you have f22 your sharpest point is likely one stop down 11 or 16. Foreground still needs to be sharp.
Ansell Adams very good at this techniques. – It is a style.
Often used in Landscape.
Ex 3.3 What matters is to look.
Quiet little exercise. Yet possibly centre of whole EYV course.
“If you are not willing to see more than is visible you are not willing to look.”
Couldnt see the whole and focus on the details When focused on detials, couldnt see the whole. How do you include both in the eimage? You make the decision.
Find a good viewpoint, look at closest, middle distance then horizon. Then all at the same time.
May be sequential. But can you be concious of the whole scene at the same time?
Take one shot to include in learning log and write about it.
We don’t really see the world anew- we recognise. we RE-cognise something.
The point of EYV – is to develop that form of looking.
I looked at an apple for so long – it became the first apple I’d ever seen.
P96 you can never have any question of just looking; We cant forget all the photographs we’ve already seen.
Descriptive photography, going out and finding your viewpoint,
Blooms Taxonomy Verbs
Synthesis/Creativity – interesting this is at the top
NOt really a scale, we use all of these,
We bring these all together.
Ex 4.4 Personal Voice
Similar to the google image serachs as above – on any term of your chosing.
Turn to the creativity critieria end of pt 1 and find a way to shoot something original. Subvery the genre.
Eamplex 4.4 Janet Warner – apple shot the apple with different white balance settings and put them together. Not entirely successfull as over exposed and colour range not great. But where there’s risk there’s risk of failure. But it is creative and experiemental and thats what we’re trying to achieve here.
Ex 5.3 Looking at Photography.
Repurposing the archival images that already exist.
“When somebody sees something and experiences it – that’s when art happens”
Select an image and take a photograph as a response to it. add this and the original to your learning log.
Long exposure / experimentation
Imagination experimentation invention personal voice – demonstration of creativity – assessment criteria.
Student Image Share and Critique
Colourful Image for a friend
Context of the image is important
Representing the feeling of being a dog owner – having to walk in the bad weather
Created an image including overlays and seaguls and dog.
When writing about work you’re asked to contextualise it – how does it fit in with other work. In this example its very painter like – very Turner -esque
Taken very close to where Turner looked out over ‘Turner Skies’
Very good to be aware of influences and heritage. Essential that we can uncover this context. Photography is based in painting, it began by imitating paintings. Photographs were very soft focus – pictorialism – to emulate painting.
Purist vs creative.
Taken in response to controlling the light – using artifical light.
Red light to reflect danger – the sign says danger
If including an element purposefully – try and place it in a prominent place.
Sometimes we see these elements after taking the image and actually see it on reflection.
Imagine it as a print too – does it work?
Queens Gardens, Warrington
David Lochney – proved himself wrong. Trying to see new ways of seeing. 100 different exposures and then blended. Turned it red and channelled his feelings of worry and low feeling in lockdown.
With any sort of media you have to go quite far down the process to find your personal voice.
If you go out and say ‘im going to take this’ you cant develop your voice.
But when you shoot, review shoot review etc you start to develop deeper ideas.
Alan Fletcher & Clive Focus Group
Core Group for cross discipline, mostly photography – Every other Sunday. 7th March next one. Forum thread ‘focus live’ on discuss forum.
Also on OCA learn.
All of the group work will be in one place and on a google calendar on there.
Derrrick Trillo 9th march EYV Part 3.
Rob Bloomfield – EYV Meet – 23rd march Tues 6pm – topic TBA.
Quite a lot of image sharing.
Andrea Norrington – on the forum (Thread)
How to be a creative learner. Studentship / student skills