Materials, techniques and processes - ideas and things you can do - Mixed media photography.

Do this - Get together paints, pens, pencils, chalks, crayons, biros and any other method to draw onto a 'Support'. The term is usually applied to painting and drawing and refers to the medium onto which you can draw/paint etc. The same term can be used in the context of photography because we too paint onto the surface in different ways - sometimes directly, as in the case of Arnulf Rainer

As part of this process we as the 'Artist' have to explore the use of how the 'Mark-making' tools work in conjunction with the 'Support' and make judgements as to whether the combination of both is successful. You have access to a number of ways in which you can produce your images - digitally and traditionally. Some of you may have access to additional methods such as 'Ink Jet' printers at home so have a larger range of potential supports for your experiments.

With a broad selection of mark-making materials...

HB pencil
2 B Pencil
4 B Pencil
Biro
High-lighter pens
Chalk
Charcoal
Water-colour paint
Goache paint.
Poster paint.
Oil paint.
Acrylic paint.
Coloured pencils
Conte pencils
Water-colour pencils
Fine-liners
OHP pens
Permanent markers
Dry wipe board markers

Get all of the supports that you have got access to... Search out or use the hyperlinks here to find more information on the characteristics and properties of these papers. Record this information with samples of the different papers/supports...

Photo-copy paper more here
Photo-copy card (CRU)
Ink Jet paper from home
Kentmere VC Select

And try all the different mark making materials (pens/pencils/paints) on the surface. Number each one and then write up your observations of how they work in conjunction with the support. Again describe the characteristics of the materials - thick, runny, oily, fine, watery, translucent, opaque etc. Does it react with the paper, or sit on top of the paper, does it rub off or is absorbed, is it neat or untidy, does it look like it has potential or does it look unprofessional.



Watch these videos here

https://www.youtube.com/watch?v=dSqWHzNzmN8

https://www.youtube.com/watch?v=Vm6w2u8IYa0

https://www.youtube.com/watch?v=JDyqmUKjNdg

https://www.youtube.com/watch?v=v1cJ0uMOL8M

https://www.youtube.com/watch?v=YnDaY14SRpM Nudity warning
To see the potential for some of these techniques.

The Prompts - Responding to and writing about images "Light".

This is an important one to always include as it demonstrates your knowledge of how light is used. For this you need to look at the light and judge whether the photographer has used available light, studio flash, flash guns, daylight or a mixture of any of these or something different? You should then write about the quality of the light in terms of it being ‘diffuse’ or ‘Point’ light, discussing the impact this has on the image – shadows, contrast, definition, flattening, vibrancy of the colour. Does the light set the mood in the image; does it make the image look dark, sinister, bright or happy? Think about and discuss the light in terms of other aspects of photography you’ve previously learned about – does it look like another practitioners (Photographers) lighting style, does it help with making image look objective or subjective, is the light full of drama or is it neutral?

Say why you think the photographer has made these choices – how relevant is the light to the image overall - is it inconsequential or fundamental? Could the light be used differently – is the light consistent or inconsistent across a series of images – think about the Becher’s for instance all of their images had a uniformity by virtue of only ever making their images when the light was of one specific type/quality.

With interior shots featuring people or objects, look at where the light is falling, look at reflections in the eyes and other reflective surfaces or objects – look for clues as to what kind of light has been used? Is it simple or is it complex?

You might even include lighting diagrams?

Studio Lighting - Recreating Corinne Days 'Daylight' as seen in "Under exposed" Vogue 1993

Corinne Day - Under exposed; Vogue 1993                 http://www.listofphotographers.blogspot.co.uk/

If you have an interest in fashion you'll know that every now and then certain themes are re-hashed with a modern twist - and the theme is frequently based around a period... 1960's, 1970's etc. Obviously the older you are the more you cringe when you see the efforts made by the stylist and the photographer to reference aspects of the period they're working with.

We have a number of assignments where we get the students to explore this approach to making fashion images and one of the points of reference we use is the 1990's and we use Corinne Day as the key point of reference, arguing that 1990's fashion photography was largely driven by the work of Day (Diary and Under-Exposed).

The students are challenged with producing their own fashion shoots styling it and shooting it in a way that makes it look Corinne Day - esque. As a part of the process we look at the fact that day uses available light and in particular we look at the work from 'Under-exposed' (Vogue 1993). The full set is featured here

Through research we've found a reference to the lighting in this link here, where the light is mentioned by the picture editor of Vogue at the time...
http://www.independent.co.uk/arts-entertainment/what-katy-did-1279938.html

Having said that, some of the lighting in these images is amazingly crisp and even. Given the way light is affected by Inverse Square Law, I would add some scepticism about the fact that this is daylight alone.

That aside, the demonstration that I do in the studio looks to replicate the 'Daylight affect' as seen in the most famous and well known of all the images here - using studio lighting.

Examining the image, we can see that the impression is that, if it is daylight and this does seem to be potentially reinforced by the fact that there's no catch-light reflected in her eyes, the light is coming from a large diffuse source on the left as we look at the image. If it's in a flat this would be a large window either north facing or on a day when the sunlight is diffused by cloud? Having said that the image isn't at all cold in its colour temperature and Day may have filtered the light?

Looking at this now more closely the diagram below will probably be more even than the light in the image. If you look at the image the light falls off below her waist, which possibly is a result of the window light not being floor to ceiling and there being a wall section below the window?

Within the work the students have to identify the appropriateness of their materials. The Corinne Day images were shot for inclusion in Vogue and done in a way that reflects her own personal work 'Diary', so they were shot we're led to believe using low tech methods 35mm SLR. For such a shoot 100 iso film would probably have been used, so working with that basic premise, we shot this using DSLR's during the early stage with the ISO set at 100 iso, raw files, at F11 - 1/125. White balance on flash mode. The ensuing images look a little cold - but some work in Photoshop could soon resolve that issue. That set up would be appropriate for magazine editorial work such as the 'Under exposure' images.

http://www.listofphotographers.blogspot.co.uk/

Research - why, when, who and how?

http://www.listofphotographers.blogspot.co.uk/

Why do I have to research and how do I put together the research section of my work?

This section relates to most level three programmes, whereby you're expected to conduct research on a continuous basis and at the start of most of your assignments.

(1). Why do I  have to research?

First you've signed up to a photography course and therefore you need to learn about all aspects of photography. Increasingly, you need to learn about the contextual aspects of photography in order to set you apart from the enthusiastic amateur who spends a lot of time doing photography as opposed to learning about photography. Learning about photography gives you a far greater depth of understanding which in time feeds into your practical work.

The more you read and look at photography - the reason it's made, what it aims to do, how it conveys meaning, how it's produced and what influences it, the greater the potential for you to be able to create your own work in a meaningful way working with interesting ideas and concepts.

(2). When should I research?

All the time! Once you've established a few ground rules about what you should be looking at, you should soak up as much information you can, collect pictures, ideas, names and concepts. Check journals and websites for new issues and updates, collect old copies of journals and buy books - fill your head with ideas and information. Live and breath photography.

More specifically - at the start of all your assignments. When you're set an assignment, it will have a theme. As soon as you've got the theme/title, you should then looked to start researching in order to generate ideas and establish the context of the theme. With the ideas and the context established you can move forward with developing your project.

(3). How do I research?

Use the British Journal of Photography as one of your main ways of researching, but consider some of these other approaches...

Primary Research - Visit galleries and studios where the work might be displayed in it original form. Visit studios and venues where you might be able to talk to the photographer and ask direct questions. Where possible try and gain work placements and work as an assistant. Interviews with the photographer.

Another form of primary research is to produce a survey and ask peoples opinions on the subject you're researching if appropriate.

Secondary Research - Journals, videos, newspapers and the internet. Youtube, Vimeo and dailymotion. Films and TV.

(4). Good practice in research

Secondary research is problematic in that there's an awful lot of information out there you could use, especially on the internet. You have to be a bit clever and identify what is useful and what should be ignored. The safest easy way of researching and one of the most productive, is to use journals such as the British Journal of Photography (BJP) and Hotshoe magazine. These magazines are written and edited by professionals that work in the field of contemporary photography. All of the articles are worthy of your time and you'll find they are short and concise and to the point. There are number of slightly more specialist and in-depth publications such as '8', aperture and AG. All of which - if you're at our college are in the library along with back issues.

If you are going to use the internet, you do need to identify high quality websites where you know you can trust the content. The type of 'Content' that you are looking for is...

(A). The photographer discussing their own work, explaining what it is about, what it means, how the work is made and where it is seen etc.
(B). Interviews with the photographer asking questions that explain the above and more.
(C). Critics, curators, journalists and others that are qualified - writing about the work, explaining, analysing and reviewing the work describing what they think it means and why they feel that the work is significant/important/good.

Suggested websites include...

www.americansuburbx.com - Use the 'Browse and Artist' links. This site is very well researched and has some of the best contemporary photographers listed. Most of the content are videos, where the photographer talks about their work.

http://www.theguardian.com/artanddesign/series/sean-o-hagan-on-photography - From the Guardian Newspaper here in the UK. He reviews work being exhibited currently along with books.

http://www.telegraph.co.uk/culture/photography/ - This one you have to be slightly careful of as some of the content is a bit cheesy 'The worlds most inspiring photographs' Images taken for the most part by 'Jobbing photographers' so there wont be any in-depth analysis of the images. But a lot of the content is good quality.

http://www.listofphotographers.blogspot.co.uk/ - This is my list and it differs from most in that it is theme driven. If your looking for a particular theme say for instance 'Dogs' and you've gone through the BJP's and the websites above and you still can't find any content to research that is of any substance. My list might help. Once you're on the page use CTRL + F and bring up the 'Find' box, type in 'Dog' and ENTER, you'll then be presented with names of photographers that I've found that are worthy of exploring and using in your research. Search the photographer or if it already has a link - use the link.

Books

Needless to say books are brilliant resources too. Two really good books that we'd recommend are -

 The Photograph as Contemporary Art - Charlotte Cotton

 

 

Photography The Whole Story - Campany & Hacking

(5) Finally - How do I go about putting the research together?

Break the work up into sections...

A. Once you have the theme e.g. Landscape; Write up your take on what you think landscape photography is, or you could do some primary research and ask other people without any photographic background the same question? Consider the following...

Where do you see Landscape Photography?

What purpose do the images serve?

Who are they for - who is the audience?

Do you take landscape pictures, if so, why - what do you do with them?

Do you ever see landscape photos being sold anywhere other than an art gallery?

Who buys landscape photographs and why?

Could you name 5 or more landscape photographers - who?

If you were a landscape photographer how might you make a living out of it?

What equipment is used in making landscape photographs?

Do you know anyone with a landscape photograph on the walls of their homes?

B. Then do your research - find a minimum of two photographers that shoot contemporary landscape images (use the methods described above). Collect enough material to write up approx. 300 words per photographer. You will also need 4 -5 good quality images per photographer that illustrate their work. As you collect the research material make a note of your sources - list web-links, books and magazines (Bibliography).

C. Using the information you've found read it and extract from it the information you need.

• Where is this type of work seen?
• What is it about?
• How is the meaning conveyed?
• What visual language is used and how?
• Who is the audience?
• Who/what is it influenced by?
• How has the image been made (Equipment/lighting/materials/techniques/processes?
• What kind of image is it - Art/editorial/Advertising?
• How is helpful to you - how might it influence your work?

D. Where possible and if suitable, try and quote the photographer/reviewer when you're trying to substantiate, make a point or offer evidence in your analysis. When using quotes, always identify them as quotes either use an indent, italics, different coloured ink and or inverted commas. Then at the end identify the source.

E. Compare and contrast the two different photographers approaches, they may both shoot landscapes, but their reasons for doing so may be vastly different.

E. Finally reflect on the research - having now studied the two photographers - do you hold the same opinion as to what landscape photography is, or do you now see it in a different way? How will you use this research to generate ideas and influence your work, what will you take from the research?






.

Writng a proposal for a photography project

http://www.listofphotographers.blogspot.co.uk/

Most Photographic assignments within the context of a college course have within the brief a requirement to establish early what it is you intend to do…

 Intentions/Proposal/Outline/Idea/Concept,  etc.

 Quite often you’ll be confronted with an open brief and other times you’ll be limited by the title of the brief, either way, the easiest way of over-coming this initial stage and getting the proposal completed is to have a bank of ideas already in place. We advocate from the moment we realise you’re genuinely interested in our courses that you buy or subscribe to The British Journal of Photography and start looking at it and reading it. Similarly we would suggest you buy…

The Photograph as contemporary Art (Charlotte Cotton)

Photography the Whole Story (Hacking and Campany)

 The theory is you’ll use the resources to generate ideas and start to comprehend how multi-faceted photography is and it’ll give you a whole bank of ideas to work with in your own projects, allowing you to get your projects underway easily.

 At the start of a project you should establish what your theme is and maybe use this as your title and or have a sub-title…

 You could then write about why you’ve chosen the theme, why you have an interest in this subject, have you had some personal experience with the subject? You could say whether at the start there’s some kind of bias with regards to how you might go about photographing the subject, are you intending on depicting the subject in a positive or negative manner and why? One of the main things you need to do is not think the idea through to its completion, be open to the idea developing in a way that you don’t envisage at this point – you could even make this point within the proposal?

Dogs (The relationships we have with Dogs)

 Outline - My chosen theme is Dogs and I’m looking to explore the relationships we have with them. Potentially, there’s several avenues that I could pursue… Dogs as Pets, status symbols, working dogs, accessories, friends, pack animals or as individual entities. I could go about the work in a documentary style, or maybe go with a portrait slant with regards to the approach? Having browsed the BJP and similar magazines for the last year or so, I’ve noted a few photographers that might form the basis of my research and I’ll also look at www.listofphotographers.blogspot.com which allows you to find credible photographers who shoot images of dogs and other animals. Names that I’ve already got include, Daniel Naude ‘Africanis’, Pieter Hugos images of Hyenas used as pets and Britta Jaschinski’s ‘Zoo’ images. I’m erring towards shooting the images with a slightly negative slant as I feel the way many people relate to their dogs is slightly odd and I want to exploit this sense within the images, but I am open to changing direction as the project develops in response to my research.

The Brief ­ - There are specific requirements within the brief that I must adhere to. These include a deadline of **/*/** . There is a minimum requirement to produce 4 final images no smaller than 10x8. I need to evidence the following – proposal, title, research, reflective practice, test images, a series of experimental approaches, the use of a range of materials, techniques and practices, analysis, the production of high quality images, planning and a final evaluation.

 Research – Most of my research will be based on the photographers I already know from my prior research gleaned from journals such as the BJP, Hotshoe, AG, Image, Aperture etc. I also know of Elliot Erwitts work and may have a look at that as part of my research process. For the most part though I will be using hard-copy resources and Youtube if there are interviews with the artists.

 MTP’s (Materials, techniques and processes) – A part of the requirement of our course is that we identify that we have a good competency with a range of equipment, materials, techniques and processes and this assignment allows us to explore these further as part of the developmental process. I particularly do want to try to work more with film and TLR cameras as I have access to a Mamiya C330. I may also look at exploring the use of Lith printing and or liquid emulsion.

 Reflective Practice – I will use the Gibbs reflective practice method throughout the process at key points to reflect on my work and ensure that it’s kept on track and developed efficiently throughout the process.

 Feedback – I will seek feedback from peers, lecturers and lay people with regards to the work, ideas and visual outcomes as they are produced, ensuring that the work is fit for purpose.

 Presentation – Without any real ideas at this point about the size and scale and nature of the final images, I do think I will probably produce a digital photo-book at the end of the project show-casing the work. I may also put the image on-line in a blog.

 Time Scale – With 8 weeks to get this work completed I aim to follow the initial schedule here…

·         Week 1; Get the research completed focusing on 2 key photographers ensuring their work is analysed in depth and that some aspect of their work is useful to my own project. Locate dog owners/users discuss and arrange access to the dogs, start to form a coherent approach to the project. Shoot the dogs on DSLR’s/Compact digitals. Complete the first Gibbs review.

·         Week 2;  Continue finding dogs – looking at the options that are realistically going to be available to me. Start to look at and prepare resources with regards to the darkroom section of the work. Maybe work with a Pentax K1000 as the ideas starts to come together so that I’ve got film for week 3 and initial tests in the darkroom. 2^nd Gibbs reflection.

·         Week 3; Start to make decisions about the idea – what and who’s dogs. Start to make arrangements with the parties involved. Get the film processed and start working with the initial images in the darkroom using Lith paper and chemical and liquid emulsion as part of the experimental phase. 3^rd Gibbs reflection.

·         Week 4; After week three, major decisions will need to be made about the direction of the work. Proper shoots will need to be conducted and the viability of using medium format film over digital will need to be considered and decisions made about the final approach. 4^th Gibbs. Look at options for professional printing and digital photo-books.

·         Week 5, 6, 7 – All of the shoots will be conducted, making of contact sheets, each shoot reflected on and further experiments using darkroom – Gibbs reflections done at regular points. Printing if done commercially will have to be arranged and planned.

·         Week 8 – Edit images down, decide how many and which finals. produce final images and evaluate learning using the Gibbs model identifying whether the work is fit for purpose and why? Identifying and reflecting on whether I’ve met my intentions as set out within the work? Identifying and reflecting on what kind of photography I’ve produced – where does it fit within the field of photography and whether the meaning and rationale that I’ve discussed within the project comes to fruition?

 http://www.listofphotographers.blogspot.co.uk/

 

Mixed Media - digital + Charcoal, chalk and scratching.

http://www.listofphotographers.blogspot.co.uk/

Incomplete more to follow.

But briefly - Get a digital image, get it printed onto card, cartridge paper or some other type of art paper. If you're really desperate bog standard paper.

Then play around with it, making it look darker and moodier, scratch the surface, smudge it - just work with it and see what you come up with. Use chalk, conte pencils, charcoal and coloured chalk and it'll start to come together and become something very different.

http://www.arbreriefantasy.com/IlluImgStock/87/ShyChristopher_csdi14.jpg

http://upload.wikimedia.org/wikipedia/en/archive/f/f4/20100830193250!The_Scream.jpg

http://markmcleod.org/wp_clevelandstateart/wp-content/uploads/2014/02/screaming-pope.jpg

This also offers and opportunity to bolster most aspects of your work - you could work with the technique as a mini - project...

Look at the example here (Image to come) and read the blog content here and write a quick proposal saying what you intend to do. Then write a short plan - times, dates, schedule materials etc.

The research the artists above and identify what 'Expressionism is'. Write up a definition and then commit to producing an image that has elements of expressionism within it using this mixed media technique.

Once you've done the research and the plan/idea becomes more coherent - produce a Gibbs reflection and the start making pictures.

Record what you do, keep all the experimental versions of the work you make and refine the work - coming up with an approach that suits your work. If you work at it with different images you may find that you come up with something that works exceptionally well. It may mean you have to do a re-shoot?

Once you've produced some images - then do another Gibbs reflection and say whether it works as a final idea for your poject. Even if you reject it, you would have still produced some images that will be good for your workbook/portfolio that shows you've explore photography and art further.

Approaches to producing images - Typology

http://www.listofphotographers.blogspot.co.uk/

Typology (Work in Progress)

This is one of the approaches we cover and teach you about.

Typology is an approach where you focus on 'Types' and produce a series of images in sets, often presented as a composite on one single piece of paper, e.g. an A3 print with 9, 12 or 15 images or more. Alternatively the images can be produced singularly and then displayed as a set at the end of a project.

 

Within your longer projects, whereby you have to explore and experiment with different approaches in producing your images, this is one of the approaches that you can evidence in your work that has excellent opportunities to link with high quality research that evidences key points in Photography history. Typology also allows you to discuss several other elements in conjunction with the images/approach. If you look at Bernd & Hiller Becher, this will allow you to explore and discuss Objectivity Vs Subjectivity maybe linking with Deadpan and other artists such as Thomas Ruff and looking at the links his work has with Photobooth images and the imposition of a set of rules that takes the subjective elements out of the image taking process.

 

Other artists that you should look at directly linked to Typology are James Mollison and two of my Favourites Jeffrey Milstein and Alejandro Cartagena.

 

Jeffrey Milstein (Planes).

 

 Jame Mollison (James and Other Apes)

 

The images here all use relatively simple approaches with the exception of the Bechers, the Bechers would have used 10x8 view cameras, film and darkroom approaches. Similarly you have to make decisions as to whether you want to keep things simple and produce the work at the experimental phase using your digital cameras, but once you've produce your work in a number of different ways you might consider shooting your work using the Typology conventions and perhaps explore producing it with another experimental approach, or use film and Darkroom/analogue techniques.

 

Pinhole camera (As a Typology)

Mixed Media (As a Typology)

Liquid emulsion (As a Typology)

Images & Text (As a Typology)

 

All of the artists mentioned here have either been featured in recent Journals or have Youtube videos where their work is discussed and explained by either the artists or someone qualified to do so.

 

In terms of difficulty, this is a relatively easy approach with the potential to produce visually interesting outcomes that meet a great number of your learning outcomes required to attain the higher grades. Needless to say at the end of any work that you produce around the theme of Typology you should then reflect on the work that you've produced and consider it as a possible method of producing your final body of work. Because of the potential of Typology and the fact that it can be easily mixed with a range of different approaches, this could also be the main thing your project could hinge around and explore and could easily serve as your starting point for any independently led project?

 

Additional photographers that work using the Typology approach can be found here - http://www.listofphotographers.blogspot.com/

 

 

 

 

 





Recommended web links

This is probably the best photography website ever...

www.americansuburbx.com  check out the 2 tabs at the top 'Artists' and 'Browse'.

Dazed & Confused on-line presence?

http://www.dazeddigital.com/photography/article/17626/1/low-and-behold

Learning resource for higher order thinking skills (Generic)

http://www.in2edu.com/resources/thinking_resources/blooms_taxonomy_chart.pdf

This is a useful link to a blog compiled by a lecturer at a college in the UK

http://artandphotography-uog.blogspot.co.uk/

Sean O'Hagan at the Guardian

http://www.theguardian.com/profile/seanohagan

Massive list of Photographers searchable by theme/subject/content especially useful for students.
http://www.listofphotographers.blogspot.com/

Experimental/Alternative approaches in Photography

(Work in Progress). Here's a list of suggestions of a variety of different ways you could approach your work moving it away from purely digital and straight photography approaches. On your A- Level there is a requirement to explore a range of different and experimental approaches within your work.

Mixed Media - Victor Sloane, Peter Beard,

Subjective v Objective

Pop Art  - Julian Opie, Andy Warhol

Expressionism - Ernst Haas, Alfred Stieglitz (Equivalents),

Impressionism

Abstract

Minimal

Narrative

Voyeuristic - Merry Alpern, 2,

Deadpan - Tereza Vlckova Thomas Ruff, The Bechers,

Typology - Bernd & Hiller Becher, Jeffrey Millstein,

Topography

Pinhole - Barbra Ess, Gina Glover,

Tilt Shift - Slinkachu

Liquid Emulsion - somebloke

Cyanotype - Anna Atkins, Wig Sayell,

Repetition Andy Warhol,

Degrading & Damaging - Ed Burtynsky (Chittagong Polaroids), Sally Mann

35mm & Darkroom techniques -

Abstraction

Joiners - David Hockney

Images & Text - Peter Beard

Found images -

Comic Book - Sin City, Ah Ha (Stand by me video).

Colour - Evzen Sobek a life in Blue

For more check out the list of photographers - CTRL + F and search "experimental" http://www.listofphotographers.blogspot.com/

Gibbs reflective practice in Art & Design

Why use the Gibbs reflective practice model to write up your written responses to your work?

(Updated Nov 2021)

The reason we recommend you write up your work in this way is simply because it steers you to produce written content that meets the assessment criteria. Almost all photography courses will require written evidence that supports your practical work. Using this simplified version with 5 prompts, based on the Gibbs Reflective Cycle brings structure to your work flow whilst at the same guiding you to write the type of content that meets the assessment criteria.

 When should you use it?

Currently (2020) my students have to use it in key areas of their work during the Creative process. They have to use it once they have completed their research: Reflecting on the research, explaining and analysing what they have learned from the research and how this will inform their initial practical response. For example- what aspects of the research will they carry forward into their own work. This may be as simple as using the same light as the artist that they've looked at, or perhaps being informed by their idea/concept? 

This then leads into producing an action plan - this serves as the plan or proposal for their first shoot/practical activity. 

Thereafter, they have to use the Gibbs model to reflect on all of their practical activities. Photo-shoots, Printing sessions in darkrooms, Photoshop sessions and any activity that involves any significant new learning. 

With practice, the Gibbs reflections become the only large written components of their work other than the research at the start of the project and the final evaluations. This approach,  tends to cut out the propensity to waffle and encourages more relevant and targeted written responses that meet the Unit criteria. 

The  5 Prompts 

What Happened - Describe what you’ve done/not done. (Keep this relatively short).

Feelings – How do you feel your doing are, worried, confident, confused? (Keep this relatively short).

Evaluation – What value is there to having produced this work, why has it been a useful in your learning? (Keep this relatively short).

Analysis – Involves questioning what you have done in order to explore better ways of working and or to produce better quality outcomes that meet the criteria... What have I learned; What more do I need to do to improve, why has the activity been useful and importantly use a what if?; question to explore a different way you may have produced the work, that would have been better. 

Action Plan – What will you do next - when, why, where, who with and what for? Also identify what you'll be using in terms of equipment, media, materials, techniques and processes as part of your plan. Other things you can use include lighting/floor plans and reference images. 

*See here for an example https://southendasphoto.blogspot.com/2021/11/example-of-unit-04-evaluation.html

*Note I no longer insist on the students writing up the conclusion part as more often than not they'll draw conclusions in the analysis section. So for us the conclusion component is optional.

Studio Stuff - Basics

Studio basics (For inspiration & ideas check out http://listofphotographers.blogspot.co.uk/ )

Here's some guidance regarding using the studio.

Equipment - The list here is broken up into 2 sections the first part is a minimal approach and the second section is my recommended full list and the third section is for 'Hardcore' serious students that are seriously interested in learning Studio lighting techniques.

• Hot shoe adapter
• Sync lead x 2
• Sekonic L308 light meter
• Tripod adapter
• Tripod
• Camera
• Lens with focal length of 55mm or longer

• Lens Hood
• Separate Slave (Wein)
• Extension cable (Sync)
• Extension cable (electric)
• Gaffer/Duct tape
• Masking tape
• Market Clips
• Modelling knife/scalpel
• String

• Tool box - Pliers, wire, screws, blue tac, string, fishing wire, a range of tapes, long nose pliers, nails, bulldog clips, crocodile clips, pegs, drawing pins,

Work in Progress Sekonic L308 flash/light meter.

 

 Basic set up in the studio.

 

You need to set your camera up ready so that it's configured for studio use...

 

Set your camera to Manual

Set your ISO to 100

Set your white balance to Flash

Use a focal length between 55mm - 70mm (DSLR)

Set your shutter speed to 1/125 (DSLR)

Consider using Manual focus

Fit the Hotshoe adapter

 

Now configure the Flash Meter for use in the studio...

 

1. Set the Invacone so that it is in the position as in the image above (e.g. covering the sensor). The invacone is the white dome on the front of the flash meter.

 

Starting at the top of the meter - press the power button and the LCD display will come on.

 

2. "Mode" By pressing the mode button you will see the that the 3 symbols next to the battery power symbol (Top left of the display) are highlighted by a box appearing around them when they are selected. Select the 'Flash Cord' mode e.g the one with the flash symbol and the letter C.

 

 3. "ISO" On the front of the meter is the ISO button, press this and hold it down whilst pressing the 'Up' and 'Down' arrows on the side of the meter. You'll see that the number next to the word ISO on the front right hand side of the display changes, this will need to be set so that it corresponds with your cameras ISO e.g. 100.

 

4. "Shutter Speed"; Using only the Up and Down buttons on the side of the meter watch the number next to the T symbol on the left hand side of the display. Adjust these numbers so that they are set to the same shutter speed as your camera e.g in this instance 125.

 

The meter is now calibrated and ready to go in conjunction with your camera being set up per the instructions above.

 

Once you've done this, arrange your lights in the manner you desire. Then using the flash meter, make an 'Incident' light-reading. (With white dome in place).

 

Plug the synch lead into the hotshoe adapter and the flash unit/head...

 

The Measurement of the light

The basic principle is - you measure the light that is falling onto the subject. This is the "primary" light source, you may introduce additional lights at different stages and the light readings will become more complex. So, in the first instance use one light and take a reading for that scenario.

Hold the light meter close to a key element of the subject. In the example above, it's a portrait, so the light reading is primarily for the face. Therefore hold the light meter almost touching the face (if not actually touching the face) and press the trigger button on the side of the meter at the top. This will trigger the flash and the light meter will register a light reading in the LCD panel next to the F (Largest number in the display). This will be the light reading measured in aperture values F2, F2.8, F4, F5.6, F8, F16 etc.

At this point you make a decision as to what aperture you want to use. Do you want limited minimal depth of field or maximum depth of field? Normally with a portrait, you want as much of the person in focus, so you would normally opt for an aperture of F8 or F11. These are also normally selected because your lens works best at these settings.

Get your assistant now to make the adjustments to the power output of the flash head, whilst you make the light readings.

 

 Using the dials on the side of the flash unit, your assistant makes adjustments either increasing or decreasing the power output. Each time they make an adjustment...

 

"Increase the power by 1 stop" They should dump the charge manually via the discharge button on the flash head before you make the next measurement. You make these adjustments until you get the required light output that you're after say for instance F11 (Which will be displayed as the F number on the LCD panel on the flash meter).

 

Warning - You have to ensure the reading is correct, the F number is recorded in whole values e.g f 8 and 1/10th values e.g. f 83. It is important that you are aware of these tenth values and that you adjust the lights accordingly and you're advised to work with whole values when you're learning the basics.

 

Don't stand in front of the light when you're measuring the light.

 

Once you adjusted the lights and they're giving you your reading of F8 and you've checked it, the model will have to stay in that light zone, if they move closer or further away the light reading will change because of Inverse Square Law. Keep control of your models make sure they stay on the same plane of focus, make a mark on the floor and ensure they stay in that zone. If they have to move around you will have to adjust the lights again.

 

Now set your camera to F8 and away you go!