Well, I have finally decided on the final 10 photographs for the assignment, they have all been converted to b&w and fully edited. Unfortunately, just in time for printing, I have run out of black ink. I have decided to print them at home on my beautiful Pictorico Pro Hi-Gloss white film, but now a few days will need to be added to get the ink delivered from Amazon. Perhaps it is a bit risky to print them at home, but I do want to give it a chance, hopefully I will be able to print them without any major shift in colour. I usually struggle with green, but a test image printed just now came back more towards the magenta, but this could be down to the lack of the black ink. Anyway I shall give it a go, but if I cannot produce anything satisfactory, I will look into getting the prints done in a lab (although this can be also a very hit and miss!). Here is an interesting technique of fixing a monochrome tint in Photoshop found on http://www.northlight-images.co.uk, I shall give it a go next week.
Fixing a monochrome tint when printing B/W in colour
An approximate fix in Photoshop can be made with a test print, a grey card and a photo of the print.
Photograph your test print and the grey card in even light of the type you want to view the print in.
Process the raw file taking great care to set the white balance from the grey card
Add a curves adjustment layer to the image
Add a 'Vibrance' adjustment layer to the image (you can use hue/saturation, but the vibrance controls are smoother)
Turn up the vibrance/saturation until the tint is clearly visible in your print. If you have set grey balance correctly, the grey card will still look grey - if not, go back to your raw file and try again.
Go to the curves adjustment layer, select the grey point eye-dropper and click on a mid grey part of your test image in the photo.
The test image should now look neutral and the grey card will take on a tint - you may need to click elsewhere on the image to get the best overall correction.
Friday 31 October 2014
Polaroid Land Camera
I thought it is about time to get myself a Polaroid camera. Christmas will be a great opportunity to have it gifted (rather than having to spend my own dosh!). I am therefore looking for the best model for my needs and so far 450 or 250 land camera with peel away film seem to fit the box. Fujifilm FP-100C will be the film of my choice, especially as there can be some exciting negative reclamation done to it. Below is the link to the instructional video and more info on cameras can be found in here http://www.instantoptions.com/.
Shop here: http://www.polamad.com/polaroidshop-land.html, http://landcameras.com/ ... and a helpful discussion here https://www.flickr.com/groups/landcamera/discuss/72157630388662864/
Monday 27 October 2014
Assignment 1 - first select
I have managed to cut down the set to 27 images, attached below. Completely unedited, straight from the camera, so please excuse the roughness of the selection.
Sunday 26 October 2014
Exercise - Discontinuities
I posted four personal photographs on Flickr and invited OCA community to comment and provide the pictures with some sort of caption. Surprisingly, I received more than I requested and my editing of the photographs seem to have 'upset' one of the commentators. Some pics were called staged and over processed, but I shall not use this feedback in here, as it is completely irrelevant. Still, I much appreciate the critique, I do enjoy receiving some negative points, as I believe they can assist in self-improvement.
First photograph is from my very humble birthday celebrations earlier this year. This was just over a month after my heart surgery and therefore I decided to stay at home with family and a few friends. The picture was actually taken just before I blew out the candles.
The comments I received were as follows: 'Thanks for giving me such a wonderful day'; 'Adoration'; 'What a lovely surprise! You shouldn't have ...'; 'Family , 3 generations'; 'I don't really want to touch it'.
Second photograph was taken in my neighbour's garden. Paul, although based in town, has a large sized back garden where he keeps a small holding and grows vegetables. The pictured here goat was a new addition to his animal family and at only few weeks old Paul insisted that my partner lifts up the young animal for a cuddle. Comments from the Flickr community: 'Everyone needs someone to love.'; 'Who needs a dog as a pet when they can have a goat?'; 'In your face.'; 'Hold me close and don't let me go.'; 'A rather unusual friendship !'; 'Was it something I said?'
Third photograph shows my Mum running towards the sea. My Mother adores the sea and not often has the opportunity to be near the seaside, being mainly based in Bialystok, Poland and with the nearest sea being around 300 km away. On the other hand, my dog, that has been brought up surrounded by the sea, is not its biggest fan. The comments received were as follows: 'I'm not going there'; 'Hesitation'; 'Research has shown that dogs are often more cautious than people in approaching new experience.'; 'You think I'm going in there? No chance!'; 'That water is cold!'; 'She must be mad going into that cold water , I am not getting my paws wet.'; 'She must be mad going into that cold water , I am not getting my paws wet.'
-Edit.jpg)
And lastly, photograph number four, which was taken during a family Christening. Here, my nice is being told to get back inside and therefore temporary surrender her balloon. The comments received:
'Just a bit longer please'; 'Take it.', 'You said it would be my turn next!'; ''Don't want to give it back!'; 'Do we really have to go now?'; 'Quite a determined look on her face -- don't spoil my fun.'; 'Please Mom—just a little longer'.
In conclusion, I can see that more obvious scenes, like pictures number 3 and 4 were much easier to read to the unknown viewer. Whereas photographs number 1 and 2 perhaps a little less. I think it is very important to be well informed about the photographer and even photographs where possible in order to supply with the correct critique.
First photograph is from my very humble birthday celebrations earlier this year. This was just over a month after my heart surgery and therefore I decided to stay at home with family and a few friends. The picture was actually taken just before I blew out the candles.
The comments I received were as follows: 'Thanks for giving me such a wonderful day'; 'Adoration'; 'What a lovely surprise! You shouldn't have ...'; 'Family , 3 generations'; 'I don't really want to touch it'.
Second photograph was taken in my neighbour's garden. Paul, although based in town, has a large sized back garden where he keeps a small holding and grows vegetables. The pictured here goat was a new addition to his animal family and at only few weeks old Paul insisted that my partner lifts up the young animal for a cuddle. Comments from the Flickr community: 'Everyone needs someone to love.'; 'Who needs a dog as a pet when they can have a goat?'; 'In your face.'; 'Hold me close and don't let me go.'; 'A rather unusual friendship !'; 'Was it something I said?'
'Just a bit longer please'; 'Take it.', 'You said it would be my turn next!'; ''Don't want to give it back!'; 'Do we really have to go now?'; 'Quite a determined look on her face -- don't spoil my fun.'; 'Please Mom—just a little longer'.
In conclusion, I can see that more obvious scenes, like pictures number 3 and 4 were much easier to read to the unknown viewer. Whereas photographs number 1 and 2 perhaps a little less. I think it is very important to be well informed about the photographer and even photographs where possible in order to supply with the correct critique.
Saturday 25 October 2014
AAWS Jumble Sale - Assignment 1
Well, today was a very exhausting day! I photographed the Alderney Animal Welfare Society Jumble Sale for my first assignment. I am not yet sure how exactly I will cut the set down from well over 200 usable photographs to 10, but I shall think hard before I make any decisions. I was originally considering to portray the journey of my cake from my house all the way to it being eaten, but it seems like such a waste of great photographs from the day. I think the simplicity in the approach will be the best possible option for this assignment. I shall reduce the set tomorrow and work it from then towards the final selection.
Wednesday 22 October 2014
Friday 17 October 2014
Monday 13 October 2014
Well, isn't that something, BJP recognising Guernsey Photography Festival, taking place on our sister-Island. Here is the link http://www.bjp-online.com/2014/10/a-small-festival-with-big-ambitions/
Sunday 12 October 2014
Carl Kleiner - There will be blood
A stunning project by Carl Kleiner based around a geometry. A great study of light, composition and colour. The simplicity and beauty of the shots are truly inspiring.
Mayumi Hosokura
An interesting project by Japanese photographer Mayumi Hosokura, inspired by a story of trashy restaurant/brothel - Crystal Love Starlight, which was closed in 1992 following the arrests of its owners for allowing prostitution on the premises.
Exercise - the myth of objectivity
Write a 250-word reflective commentary on the above quotes by Andre Bazin and Allan Sekula. Briefly compare their respective positions and record your own view on the issue of photograhic objectivity.
The two examples of understanding objectivity by Bazin and Sekula present a very different view on the subject. Andre Bazin argues that the automatic character of the camera allows for a fully objective capture of reality. In his opinion the purely automatic creation of the image does not involve any form of self-expression, it does not include any personal choices or any subjectivity. He believes that at a press of a button an image is created, a machine replicates the reality and supplies with the exact copy of the view ahead.
On the other hand, Alan Sekula presents a very different point of view, arguing that the outcome of a photograph is always predetermined by personal choices. He thinks that the photograph cannot have the universal meaning, as it is ‘the outcome of a culturally determined relationship’.
I am sure it is not surprising that the latter understanding of objectivity fits my personal opinion better. I have previously numerously expressed my strong belief that photography cannot be objective. It most probably the most truthful method of capturing the reality due to the partial automation of the process, but the final outcome is always pre-determined by the choices made by the photographer. Our culture, personal interests and attitudes will always throw a shadow of an influence on how the image is captured and selected. The term objectivity does not apply to the photographic medium. The tool may be purely automatic, but it relays on a living being to consciously operate it.
The two examples of understanding objectivity by Bazin and Sekula present a very different view on the subject. Andre Bazin argues that the automatic character of the camera allows for a fully objective capture of reality. In his opinion the purely automatic creation of the image does not involve any form of self-expression, it does not include any personal choices or any subjectivity. He believes that at a press of a button an image is created, a machine replicates the reality and supplies with the exact copy of the view ahead.
On the other hand, Alan Sekula presents a very different point of view, arguing that the outcome of a photograph is always predetermined by personal choices. He thinks that the photograph cannot have the universal meaning, as it is ‘the outcome of a culturally determined relationship’.
I am sure it is not surprising that the latter understanding of objectivity fits my personal opinion better. I have previously numerously expressed my strong belief that photography cannot be objective. It most probably the most truthful method of capturing the reality due to the partial automation of the process, but the final outcome is always pre-determined by the choices made by the photographer. Our culture, personal interests and attitudes will always throw a shadow of an influence on how the image is captured and selected. The term objectivity does not apply to the photographic medium. The tool may be purely automatic, but it relays on a living being to consciously operate it.
Friday 10 October 2014
What makes a document?
I believe that every photograph is a document, its importance however can change with time.
All photographs are of something or someone that existed at some point in time, a second, one year or seventy years ago. They document the presence of an object, a landscape, or a human being, real or composed especially for the shot and therefore it is my belief that every picture that has ever been taken can be seen as a form of a document.
Regarding the time aspect of the argument, I do agree that it can enrich the context of the photo and it most often does, but it certainly does not define the document. Not only the historical events, but changes to the landscape, changes in ones features can offer more significant meaning to the photograph. A great example of a personal document can be Nicholas Nixon's project 'Forty Portraits in Forty Years'. Photographer documented four sisters by producing a single image each year over a period of forty years. The 2014 photograph is as much of a document as the first photograph taken in 1975, but undoubtedly the first picture consists more of a documentary value, as it presents faces much different from today, it shows an event long gone, maybe even forgotten.
Looking at the comments to the article 'What makes a document?' on WeareOCA website, I can see that a few commentators agree with my beliefs. Kerileeb and Richard Down have similar understanding of what makes a document, although Kerileeb seems to be unsure about the physical aspect of the documentary photograph. I must underline my strong understanding that ALL photographs in any shape or form are of a documentary value. In my opinion the physical aspect does not restrict the definition of a document. There is obviously the element of a digital manipulation, which opens a new can of worms in this argument, but the printed image can also be altered, even if its just by the usual wear and tear, which often comes with age. I'd like to risk to say that even heavy digital manipulations can be seen as a form of a document, as they document the state of the mind of the artist and its imagination. This perhaps does not apply to this argument, as here the purely traditional documentary is being discussed.
So to summarise, I personally like to treat all photographs as some form of a document. The context does not define it, nor does the time, the latter however can greatly improve the importance of the context.
All photographs are of something or someone that existed at some point in time, a second, one year or seventy years ago. They document the presence of an object, a landscape, or a human being, real or composed especially for the shot and therefore it is my belief that every picture that has ever been taken can be seen as a form of a document.
Regarding the time aspect of the argument, I do agree that it can enrich the context of the photo and it most often does, but it certainly does not define the document. Not only the historical events, but changes to the landscape, changes in ones features can offer more significant meaning to the photograph. A great example of a personal document can be Nicholas Nixon's project 'Forty Portraits in Forty Years'. Photographer documented four sisters by producing a single image each year over a period of forty years. The 2014 photograph is as much of a document as the first photograph taken in 1975, but undoubtedly the first picture consists more of a documentary value, as it presents faces much different from today, it shows an event long gone, maybe even forgotten.
Looking at the comments to the article 'What makes a document?' on WeareOCA website, I can see that a few commentators agree with my beliefs. Kerileeb and Richard Down have similar understanding of what makes a document, although Kerileeb seems to be unsure about the physical aspect of the documentary photograph. I must underline my strong understanding that ALL photographs in any shape or form are of a documentary value. In my opinion the physical aspect does not restrict the definition of a document. There is obviously the element of a digital manipulation, which opens a new can of worms in this argument, but the printed image can also be altered, even if its just by the usual wear and tear, which often comes with age. I'd like to risk to say that even heavy digital manipulations can be seen as a form of a document, as they document the state of the mind of the artist and its imagination. This perhaps does not apply to this argument, as here the purely traditional documentary is being discussed.
So to summarise, I personally like to treat all photographs as some form of a document. The context does not define it, nor does the time, the latter however can greatly improve the importance of the context.
'Is This the Most Important Photograph of the 20th Century?'
Interesting article on Huffington Post suggesting William Eggleston's photo of a trike to be the most important photograph of the 20th Century. The writeup refers mainly to the pioneering use of colour, but also to the use of an everyday, banal object and a very particular composition and framing of the image. More here: http://www.huffingtonpost.com/matthew-israel/is-this-the-most-importan_1_b_5863002.html
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